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/ 



We NEW STANDARD 


WORK ON DESIGNING 

AND 

PATTERN - MAKING 


— gf—~ 

LADIES’ TAILOR-MADE 
GARMENTS 

- 0 

NEW REVISED EDITION 


PUBLISHERS 

Mitchell Publications, Inc. 

912-920 Broadway 


NEW YORK 















Copyrighted 1921 

BY 

MITCHELL PUBLICATIONS, Inc. 


912-920 Broadway 
New York 


JUN 21) 1921 
©Cl. A 617629 



I ' 



o I 


LADIES’ TAILOR-MADE GARMENTS. 


•» 
« j 


i 





INDEX 


How to take measures. 11 

How to take measures, continued . 13 

Box Coat Foundation . 17 

Box Coat. 19 

Kimona Box Coat . 21 

Kimona Box Coat, continued. 2,3 

Kimona Box Coat, continued. 25 

Set-in Kimona Sleeve . 27 

Set-in Kimona Sleeve, continued . 29 

Balmacaan Sleeve . 31 

Balmacaan Sleeve, continued . 32 

Balmacaan Sleeve, continued. 35 

Semi-fitted Jacket Foundation . 37 

Semi-fitted Jacket. 39 

Semi-fitted Kimona Jacket. 41 

Tight-fitted Jacket Foundation. 43 

Tight-fitted Jacket—Single Dart . 45 

Tight-fitted Jacket—Double Dart. 47 

"Prince Albert” cut tight-fitted Jacket. 49 

"Prince Albert” cut tight-fitted Jacket, continued, 51 

Mannish Jacket . 53 

Semi-fitted Jacket—erect form . 55 

Semi-fitted Jacket—stooping form . 57 

The Cape . 59 

Two piece Sleeve . 61 

Raglan Sleeve . 63 

Raglan Sleeve, continued . 65 

Large size two piece Sleeve. 67 

Two piece Bell-Sleeve ..... 69 

One piece coat sleeve . 71 

Bell cuff for one piece sleeve. 73 






































THE NEW “STANDARD'’ WORK ON DESIGNING 


INDEX 

continued 

Cuffs for two piece sleeve .. 75 

Darted Shawl Collar .... 77 

Shawl Collar . 79 

Different types of collars. 81 

Different types of collars, continued. 83 

Skirt Foundation . . . . . . 85 

Two piece Skirt . 87 

Two piece high-waisted Skirt. 89 

Five gored Skirt. 91 

Seven gored Skirt. 93 

Nine gored Skirt. 95 

Eleven gored Skirt.. 97 

Thirteen gored Skirt. 99 

Fifteen gored Skirt. 101 

Pleated Skirt Foundation. , . ....... 103 

Side pleated Skirt . 105 

Box pleated Skirt. 107 

One piece Skirt. 109 

Two piece circular skirt . Ill 

Two piece circular skirt, continued . 113 

Gored Flare Skirt. 115 

Divided Riding Skirt . 117 

Ladies’ Apron Riding Skirt. 119 

Ladies’ Apron Riding Skirt, continued. 121 

Ladies’ Riding Breeches. 123 

Ladies’ Riding Breeches, continued. 125 

Manipulation of the Semi-fitted pattern. 127 

Manipulation of the Semi-fitted pattern, continued, 129 
Manipulation of the Semi-fitted pattern, continued, 130 
Manipulation of the Semi-fitted pattern, continued, 133 
Manipulation of the Semi-fitted pattern, continued 134 






































LADIES’ TAILOR-MADE GARMENTS. 


5 


PREFACE 


An enduring system of garment designing must be founded upon principles applicable 
to all variations of the human form and the ever-changing vagaries of fashion. 

There are departments in designing in which the conditions and requirements render 
measures wholly unnecessary. Then proportions form the basis of procedure, and the data 
thus obtained is adequate to the end in view. Proportions determine the lengths and 
widths of the parts that are adapted to a large proportion of forms of any given height 
and circumference. They are the outgrowth of experience, but vary in dififerent localities 
according to conditions of physical development. Nevertheless their field of usefulness is 
a broad one. 

In custom designing, the requirements and conditions are widely dififerent from those 
which obtain in the wholesale trade. In the former there are presented an almost infinite 
variety of forms, the requirements of each of which must be adequately met by the method 
employed. Proportions alone are therefore insufficient for the custom designer. For every 
average quantity there are two extremes between which the average has been established. 
For this reason there will always be a necessity for a comprehensive measurement of the 
parts into which the height and circumference of the whole may be properly divided. 

The value of both proportions and measurements depends upon their approximate 
correctness, without which there is no choice between them. A correct measure is pref¬ 
erable to a false proportion, and also to an average proportion, when the form is not 
within the prescribed limits of an average form. On the other hand, an average propor¬ 
tion is more desirable and reliable than a false measure. It is folly to condemn either 
per se. 

As the whole is greater than any part, so is a system of garment designing which is 
alike applicable to all forms superior, for the needs of the custom designer, to one applic¬ 
able to a large number only. While it is true that very many of the divergencies in shape 
from that of an average form may be ascertained and accommodated at the first or the 
second try-on, experience demonstrates that they can be more readily ascertained at the 
outset by a proper measurement of each form as presented to the designer. The original 
pattern can then be made more closely to conform to the requirements of the wearer, thus 
minimizing the changes at the try-on. 

For this reason we have endeavored, in the preparation of this work, to present and 
expound correct principles for all sizes and forms, and to provide a method by which they 
can be successfully applied. We have not undertaken to construct a system by which the 
unskilled can, with the aid of a try-on, produce suitable garments for even a large propor¬ 
tion of forms, but to construct one which, used by skilful designers, will greatly lessen the 
changes at the try-on, and make garment designing both pleasant and profitable. 

We believe that the principles upon which this system have been built are the most 
scientific yet employed in garment designing; but even a perfect system will not be a guar¬ 
antee of success to the designer who is deficient in those qualities necessary to its intelligent 
utilization. No system will ever be invented that will supply any one with an equivalent 
for brains, or enable him to be successful in garment designing unless he was born with an 
aptitude for the trade. 

In the nature of the case there cannot be a “science” of garment designing, either for 
men or women, by which right results are infallibly secured. A system may very nearly 
approach the scientific but even then it may not be rightly used. Two students of the same 
system will attain dififerent degrees of proficiency because they differ in aptitude and intui¬ 
tion to readily and rightly grasp and utilize the principles on which the system is based. 










6 


THE NEW “STANDARD” WORK ON DESIGNING 


It is the novice only who prates about the “science” of garment designing. It is a highly 
honorable and useful occupation, in which one who has artistic taste and right methods 
can find a wide field for their cultivation and employment. 

Are you a student in garment designing? Are you looking for some method by which 
you can, with but a little effort on your part, float into fame and meritorious achievement? 
If so, you are chasing a phantom. The best things in life are those which demand our great¬ 
est efforts if we would secure them. Those which cost the least of effort are of the least 
value. 

There are many who plod along with no clearly defined principles or rules of action. 
How all their work might be changed from a menial drudgery into an intellectual and pleas¬ 
ant development of the best that lies dormant within them if they would but choose the 
right path and follow the progressive steps necessary to their best unfolding. 

To be a successful designer is not difficult when one has aptitude and pursues his studies 
upon principles which are logical and clear to his powers of comprehension. 

The subject herein brought to the attention of those who aspire to be successful design¬ 
ers will be taken up at the beginning and followed in progressive steps to the end. While 
it is intended to be especially adapted to the needs of the custom designer, it is also for 
those who wish to prepare themselves for the wholesale trade, as it combines the drafting 
of patterns by the measures taken on the form to be fitted, as well as by the proportionate 
measures suitable for forms of all sizes of proportionate development. 

When dealing with forms of average or normal development in heights and widths, 
and of the most common variations from the normal form, these proportionate measures 
can be absolutely relied upon and are adequate to meet all requirements in such cases. 

A knowledge of what are the measures for a normal form of any given height and cir¬ 
cumference is of great value to the novice in measuring. They will be a guide to correct 
measures and a guard against wrong measures when measurements are required, as in cus¬ 
tom designing. 

One who does not know how to measure had better let measures alone until he has 
learned. A good proportionate measure is safer than a false measure taken on the form to 
be fitted. But one who has an aspiration to excel in skill as a designer, enlarge his power 
of usefulness and earning power, must practice measuring until he has become proficient in 
that. Because when dealing with forms of variable degrees in development, the lengths and 
widths of the whole and its part can best be determined by a right measurement of the form. 
His methods used in drafting must be logical and such as will enable him to put into the 
draft the right quantities in the several parts, and in their right relation to the whole. He 
must cultivate and infuse into his draft the highest art qualities. His production must be 
befitting and conformable to a standard of right and appropriateness. 

In the study of the diagrams and explanations which accompany this work, the thought¬ 
ful student will see the reasonableness of each step taken. 

The principles herein expounded are correct and applicable to any and all of fashion’s 
caprices. 

That this work may prove an inspiration and a valuable helper to all engaged in 
the production of women’s tailor-made garments is the sincere wish and expectation of 


THE PUBLISHERS. 










LADIES’ TAILOR-MADE GARMENTS. 


7 


PART 

I 


MEASURING 







p’[ rjr 


8 


THE NEW “STANDARD’’ 


WORK ON DESIGNING 










































































LADIES' TAILOR-MADE GARMENTS. 


9 


MITCHELL IMPLEMENTS 

PRICE LIST. 


KNOWN AND RELIED UPON 
EVERYWHERE 

MADE OUT OF THE FINEST 
MATERIAL. 


"Mitchell” Divisional Square, 


best boxwood, 24x16. $4.50 

Boxwood Divisional Squares, 

24x12, reg. or reversed. 2.25 

Boxwood Divisional Squares, 

24x14, reg. or teversed. 2.50 

Boxwood Divisional Squares, 
24x16, reg. or reversed. 2.75 


(Reversed means with 
the divisions of halves 
on long arm.) 

Patent Folding Arm, Div. 

Square, 24x14, boxwood... 4.00 
Standard Measuring Sq. with 
brass attachment and tape. 4.00 
Standard Measuring Sq. with 

celluloid attachment & tape 4.00 
Standard Measuring Sq. 
jointed for folding and in¬ 
tended for taking orders on 


the road, with brass or cel¬ 


luloid attachment and tape. 5.00 
Sliding Arm Measuring Sq., 
double brass arm (also 
known as the “Sherman”) 

with tape . 3.00 

Sliding Arm Measuring Sq., 
best boxwood with folding 

brass arm . 4.00 

6-4 Bevel Straight Edge— 

Jointed . 3.00 

5-4 Bevel Straight Edge— 

Plain . $1.50 

Trousers Measuring Device 
with ring for securing tape. 1.75 
Blade Measuring Sq., best 

boxwood with tape. 1.75 

Blade Measuring Sq., folding 

arm with tape. 2.25 

Reduced Divisional Sq. for 
half-sized drafts. 1.75 


Reduced Divisional Sq. for 


quarter drafts . 1.75 

Celluloid or Brass Attach¬ 
ment for standard measur¬ 
ing sq.75 

Forksticks, with tape for 
measuring inseam of trou¬ 
sers .75 

Curved Rules, best boxwood, 

reg. shape.75 

Curved Rules, best boxwood, 

Special . 1.00 

Best Sateen Inch-Measure, 60 

ins. long, per doz. 2.00 

Best Sateen Inch-Measure, 60 
ins. long, Single, by mail.. .25 

Graphite Crayons, blue black, 
red or assorted, box, 1 doz. 1.20 

Mitchell Tracers, Single.50 

Handled Tracers, Straight, ea. 1.00 


TO THE RIGHT KIND OF IMPLEMENTS 


Don’t be satisfied with inferior tools. Our 
name assures the quality of our goods. 

Reme nber —Send in your remittance with the order as the sole 
object of this department is to supply our patrons with ab¬ 
solutely accurate and reliable merchandise at a nominal cost. 


MITCHELL PUBLICATIONS, Inc. 912-920 Broadway, New York City 


EXTRA! 

AT LAST WE ARE IN A POSITION TO OFFER YOU 


The Famous “MITCHELL TRACER” Made Better 
Than Ever Before. Don’t Delay in Sending 

The Demand 
Get Yours. 


in Your Order, 
will be Great. 


50c. Each 

PREPAID 

The Handiest, 
Most Serviceable, 
Most Convenient Tool 
of Its Kind Ever Devised. 



Nickel Plated, Rust Proof, 
Pressed Steel Wheel, 
Will Last Forever. 


50c. Each 

PREPAID 

Every Tailor Needs One. 
ItFitsin the Vest Pocket. 
There is Nothing 
Like It on the Market. 


SEND YOUR REMITTANCE WITH YOUR ORDER 


MITCHELL PUBLICATIONS, Inc. 

Tel. Stuyvesant 8383 920 BROADWAY NEW YORK CITY 























































10 


THE NEW “STANDARD” WORK ON DESIGNING 


SYSTEM OF TAKING MEASURES 


The measurements necessary for the system as de¬ 
scribed in this book are as follows: 

Bust, waist, hips, back depth, back waist length, full 
length, half back width, blade, front depth, sleeve length, 
top of dart, front waist length, front length of skirt, back 
length of skirt. 

It is necessary for the sake of efficiency and of con¬ 
venience to the one taking the same, that the measures 
are taken in one and the same routation at all times. It 
is also necessary and still more important that the 
measures are taken correctly, if a good pattern is to be 
the result. To facilitate this some of the measures are 
to be taken with the aid of the measuring square, the use 
of which will be described on the pages following. 

The first three measures, the bust, waist and hip meas¬ 
ures are illustrated in Fig. I. The bust measure is taken 
over the highest part of the bust slanting upward slightly 
towards the back. The waist measure is taken over the 
smallest part of the waist and the hip measure is taken 
between 7 to 9 inches below the waist line. 

Fig. II illustrates the locating of the back or scye depth 
with the aid of the measuring square. The two brass 
rods are placed under the arm pointing downward to¬ 
wards the highest part of the bust, the center back is 
then located and marked with chalk or with a pin. 

Fig. Ill illustrates the measuring of the back depth, 
the back waist length and the full length of the garment, 
all taken from the same point, the base of the neck. 

Fig. IV illustrates the taking of the half back width. 
The full back width is taken about 4 inches below the 
neck but only >4 the amount taken is put in your measure 
chart. 



















LADIES’ TAILOR-MADE GARMENTS. 


11 



III 


IV 





















































12 


THE NEW “STANDARD” WORK ON DESIGNING 


SYSTEM OF TAKING MEASURES 


continued 


Fig. V illustrates the taking of the blade with the meas¬ 
uring square. Place the brass rode under the arm as il¬ 
lustrated and with the aid of the tap attached to the 
square the blade is taken backward to the mark made 
previously in locating the back depth. 

Fig. VI illustrates the measuring of the front depth. 
After the blade has been taken and without removing 
the measuring square, the tap is dropped and swung from 
in front of the arm over the shoulder and the front depth 
taken to the center back as illustrated. The inside sleeve 
length may also be taken in connection with the front 
depth, drop the tap once more and let the same hang 
down along the arm, locate the elbow and full or any 
length of sleeve desired. 

Fig. VII illustrates the taking of the top of dart, which 
is to be taken from the center back to the highest part of 
the bust about 4 inches from the center front, and the 
front waist length taken from the center back to the 
waist line at the center front marked X. 

The skirt length is taken at the front and back from 
the waist line down to as many inches above the floor as 
desired. 












LADIES’ TAILOR-MADE GARMENTS. 


13 




VII 


































14 


THE NEW “STANDARD ' 1 WORK ON DESIGNING 


PART 

II 


DRAFTS 






LADIES’ TAILOR-MADE GARMENTS. 


15 


MITCHELL SLIDING ARM OR 
MEASURING SQUARE 


For taking measures as explained in the following pages 




















































































































16 


THE NEW “STANDARD” WORK ON DESIGNING 


BOX COAT FOUNDATION 


This diagram illustrates the construction of the founda¬ 
tion for any style box coat. 

The construction of this foundation, as well as of any 
other, is of vital importance, and great care must be exer¬ 
cised in applying the different measurements and squaring 
out the different lines, as the foundation establishes the 
principal points in the making of any size or style pattern 
The construction points are numbered in rotation to facili¬ 
tate the drafting of this diagram in all the stages of its 
construction. 

The measures are as follows: 

39 Bust 

40 Hips 

7 Back depth 
15 Back waist length 
7 Half back width 
I0y Blade 
\2 l / 2 Front depth 

To Draft 

% 

A is the point from which to square both ways. 

2 from A is l / 2 the bust measure on the 24ths less 2. 

3 from 2 is the back depth. 

4 from 2 is the back waist length. 

5 from 4 is 7 inches. Square forward from 3, 4 and 5. 

6 from 5 is ]/ 2 inch. 

7 from 4 is V 2 inch. Connect 6 to 7 and 7 to 2. 

8 is a point on the line 7-2. 

9 from A is ]/ 2 bust on the 8ths less 2; shape the back part 
of the neck from 2 to 9. 


10 from 8 is the half back width and 

11 from A is the same. Connect 10 and 11. 

12 from 8 is the blade, square downward. 

13 from 12 is 1^4 inch, square up. 

14 is a point half way between 12 and 13. 

15 from 13 is 1*4 inch. 

16 from 12 is y 2 bust on the 6ths. 

17 from 16 is \ l /\ inch, square up. 

18 from 8 is x / 2 bust. 

19 from 18 is y 2 inch, connect 9 and 19. 

20 from 14 is the front depth, gained by applying it, less 
the width of the back part of the neck, 9-2 at 14, as to where 
it falls on the line squared up from 17; connect 14 and 20, 
and square forward. 

21 from 20 is y 2 bust on the 6ths; draw a line from 21 
through 19 downward. 

22 from 21 is y 2 bust on the 8ths, shape the front part 
of the neck from 20 to 22, as per diagram. 

23 is a point gained by squaring from the bust line 
through a point about 3 inches below 19 marked by a cross 
mark. 

24 from 23 is 24 inch, draw a line from the cross mark 
to 24. 

25 is a point half way between 2 and 3, connect 25 and 

20 . 

26 from 9 is the shoulder width, which is 6 inches in 
this case; shape the back scye from 26 to 12, as per diagram. 

27 from 20 is the shoulder width; shape the front scye 
from 27 to 12, and the front shoulder from a point y 2 inch 
below 27 to a point 24 inch above 20. 




LADIES TAILOR-MADE GARMENTS 



17 16 13 14 










































18 


THE NEW “STANDARD" WORK ON DESIGNING 


BOX COAT 


The feature of this garment, as the name indicates, is 
a loose hanging effect. Only a medium amount of loose¬ 
ness or fullness is allowed at the bottom of this coat, as 
illustrated in this diagram. If more fullness is desired, 
it is better obtained by manipulation, namely, by cut¬ 
ting out the pattern first as drafted, then cut through 
wherever fulness is desired and spread to the amount 
necessary. 

To Draft 

The foundation of this diagram and the measures of 
the same up to and including point 27 are the same as 
illustrated and described on the preceding page. 

28 is a point halfway between 13 and 10, square down¬ 
ward. 

29 is a point on the line squared down from 28. 

30 from 29 is 1% inches, and 

31 from 29 is the same; draw a line from 28 through 
30 and from 28 through 31 downward, as illustrated. 

The center back line as represented by the heavy 
line formation is drawn from 2 through a point ]/ 2 inch 
in back of 5, dowmward, and measure the length of the 
coat as desired. 

A lap of 3 inches is allowed to the front, although 
less may be taken if so desired. 

All box coat fronts are long and require either to be 
pulled in with tape or to be shortened with a dart, which 
is more satisfactory in all cases. The dart, as illustrated, 
is 1/4 inches wide at 22 and is about 6 inches long. The 
lapel may be shaped to any size or style required. The 
crease line of the front and collar, as indicated by the 
double line formation, is drawn from a point about 3/ 3 
inches below the bust line through a point Y inch in 
front of 20 upward. 

The neck line of the collar is drawn from a point 
half way between 20-22 through a point inch in back 
of 20 upward. 

32 from 20 is 54 inch more than 9 from 2. 

Shape the width style of the collar to harmonize with 
the shape of the lapel and finish as represented. 





LADIES’ TAILOR-MADE GARMENTS. 


19 








































































KIMONO BOX COAT 


This coat is drafted the same way as the box coat on 
the previous page, the only different feature in this coat 
is, that the sleeves are drafted in one with the body part. 

The foundation up to and including point 23 and the 
measures of the same are identical to the box coat founda¬ 
tion described on a previous page. The sleeves in this 
diagram are not drafted to the full length on account 
of lack of space. 


To Draft 

24 from 3 is *4 of the line 3-2; draw a line from 19 
through 24 backward; measure the length of the sleeve 
29 inches in this case, from 19 through 24. square down¬ 
ward, and measure the width of the s’eeve about 7 inches. 

25 from 21 is the same as 24 from A ; draw a line from 
9 through 25 forward, and measure the length and width 
of the sleeve the same as on the front part. 

26 is a point halfway between 13 and 10, square down¬ 
ward. 

27 from 26 is 3^4 inches, connect 27 with the width 
mark of both the front and back part of the sleeve. 

28 from the line squared down from 26 is 1% inch, and 

29 from the same line is the same. Draw a line from 
26 through 28 and from 26 through 29 downward. 

A lap of 2 inches is allowed to the front of this coat. 
The top of the front part is shaped for a shawl collar, 
although any style collar or lapel may he drafted to this 
coat. Finish as represented. 

The cutting out of this coat is described on the pages 
following. 







LADIES’ TAILOR-MADE GARMENTS. 


21 

















































THE NEW “STANDARD” WORK ON DESIGNING 


/ 


KIMONO BOX COAT 


continued 


To cut out the Kimono Coat, the following instruc¬ 
tions are to be observed. 

The back part of this coat with the sleeve of the same 
are to be traced and cut out on another paper, the back 
part is then pasted, with the back shoulder line 9-25 to 
the front shoulder line 19-24, as illustrated, the paper 
having first been cut away above the front shoulder line 
19-24, leaving just enough to be able to paste the back 
part on to it. See the following page. 





LADIES’ TAILOR-MADE GARMENTS 


23 




















24 


THE NEW “STANDARD” WORK ON DESIGNING 


KIMONO BOX COAT 

continued 

After the back part has been pasted on to the front 
part, and before cutting out the complete pattern, the 
back part must be folded over on top of the front part 
so that they meet at point 27, as illustrated on this 
diagram. 

ddie line between points 1 and 2 indicates the former 
shoulder line; the heavy line formation above line 1-2 
indicates where the front is folded over, and at the same 
time the shoulder seam, if any is desired. The thin lines 
at the under arm indicate the relative position of the 
sleeve lines of the front and back parts, the higher line 
being front line in all cases. The heavy line formation 
half way between the two lines illustrates how the 
sleeve is to be evened out. Cut the remainder of the 
front out on the regular front lines of the diagram. 


LADIES' TAILOR-MADE GARMENTS. 


25 

























26 


THE NEW “STANDARD” WORK ON DESIGNING 


SET IN KIMONO SLEEVE 

This sleeve, as the name indicates, is a kimono effect 
and is manipulated exclusively from a box kimono pat¬ 
tern. 

A box kimono is first drafted to any size or measure 
required, cut out and the back part folded over on top 
of the front part as illustrated in the accompanying dia¬ 
gram. 

1 is the neck point of the front and back parts. 

2 from 1 is the shoulder width, 6 inches in this case. 

3 from 2 is \ x /\ inch. 

4 is a point on the underarm seam ; shape the arm scye 
from 2 to 4 and the sleeve line from 3 to 4 as represented. 

A piece of paper, large enough for a sleeve, is then 
taken and folded in the center. Lay the pattern with the 
line 1-2 to the fold of the paper and trace the sleeve line 
3-4, this done, cut out the arm scye 2-4. The drafting of 
the sleeve itself is illustrated and described on the next 


page. 




LADIES’ TAILOR-MADE GARMENTS. 


27 


I 





























28 


THE NEW “STANDARD ’ WORK ON DESIGNING 


SET IN KIMONO SLEEVE 

continued 

After the arm scye is cut out, lay the pattern with the 
points 2-4 on the tracing line and measure. 

5 from 4 is 3*4 inches; mark this point on the arm scye 
as well as on tracing line and point 4 on the tracing line. 
This done, remove the front and back parts from the 
sleeve draft. 

6 from 4 is 214 inches and measures the same from 5 as 
5 from 4; shape the back part of the sleeve from 2 through 
5 to 6 and the front part from 2 through a point J4 inch 
below 5 to 6 as represented. 

7 from 2 is the sleeve length less the shoulder width, 
square out. 

8 from 7 is 6 }4 inches; shape the bottom of the back 
part of the sleeve about inch below the squared line, 
and the front part y inch above the straight line. 

Shape the under arm seam from 6 to 8 as illustrated 
and cut out. 


LADIES’ TAILOR-MADE GARMENTS. 


29 










30 


THE NEW “STANDARD ’ WORK ON DESIGNING 


BALMACAAN SLEEVE 

This sleeve, as the “Set in Kimono Sleeve,” on the 
previous page, is manipulated from the box kimono block 
pattern. 

After the kimono block has been cut out and folded as 
per accompanying diagram, the sleeve line may be drawn 
as described below. 

1 is a point about 1 inch from the shoulder line. 

2 is a point on the under arm seam or as many inches 
below r that point to give the desired effect; connect 1 and 
2, and shape the sleeve line from 1, crossing the guide 
line at about the center mark, to 2 as represented. 

The sleeve part is then cut away along the sleeve line, 
leaving the front and back parts as represented in figure 
2. The manipulation of the sleeve is illustrated and 
described on the pages following. 
















LADIES’ TAILOR-MADE GARMENTS. 


31 

















32 


THE NEW “STANDARD” WORK ON DESIGNING 
















LADIES’ TAILOR-MADE GARMENTS 


33 


lllllllllllllllllllllllllllllllllllllllllip nil]!!llll!!lllillllllillll!lllll!llllll!l!illl!llllllllllllllll!llilll^^ 

Think It Over NOW 

| 

Make Up Your Mind 

a 

t= 

m 

TAKE A COURSE OF INSTRUCTION IN THE I 
MITCHELL SCHOOL OF DESIGNING, PAT¬ 
TERN MAKING, GRADING AND FITTING of 
LADIES TAILORMADE GARMENTS 

TN THE mind of the average young man who wishes 
to become a designer, grader, cutter and fitter, the 
most important question is: “Can I get a position?” The 
man who is a designer, hut is not quite satisfied, asks: 

“Can I get a better position?” 

If Both make a mistake. The most important thing is: ARE YOU READY FOR 
the position? You will get it easily enough when you are ready. The good positions 
are hunting for good men to fill them: the demand is greater than the supply. 

1l To get the position you must be competent. To be competent you must take time 
to learn. That takes six or eight weeks, depending upon the student, and so it is ad¬ 
visable to think the matter over and come to a decision. Don’t put it off. It is too 
important to you. 

11 Now keep this fact always before you in making up your mind. There is no cer¬ 
tainty of proper results, no positive assurance of expert skill for you unless you are 
trained in the Mitchell Method. 

If This method is the most thorough and efficient ever originated. Our system is the 
simplest ever devised to produce perfect results. It is easy to learn and just as easy 
to use. It leads the world in all the advantages that a system offers. 

If Whether you are an experienced designer, anxious for improvement, or are only 
thinking of beginning, take our earnest assurance that our method of instruction has in 
it the elements of success and we know how to impart them to you. 

If Make up your mind that nothing but the best is good enough for you. 

If Make an effort now: it is well worth while. You seek success, this is the road to it. 

We can help you realize your ambition if you give us the chance. 

If Come to our school: take a course and when you are ready we will do what we can 
in helping you to get a good position. 

If The outlay is small: the first year you are employed will repay you, as you will be a 
trained expert in a profession where good men are alwavs in demand and well paid. 

Mitchell Designing School j 

I 912-920 BROADWAY NEW YORK 1 



Telephone Stuyvesant 8383 













34 


THE NEW ‘STANDARD'’ WORK ON DESIGNING 


BALMACAAN SLEEVE 

continued 

The sleeve part as cut away from the front and back 
parts is outlined with a thin line, points 1, 2 and 3. 

Lay the sleeve part with the shoulder line to the fold 
of the paper and weigh it down. 

1 and 2 are the same points as described on the dia 
cram of the preceding page. 

3 is the neck point at the shoulder line. 

4 from 3 is 6 inches. 

5 from 1 is 6 l /2 inches. 

6 from 4 is 1^2 inches; copy the sleeve from 5 to 2 and 
from 2 down to full length, hold the sleeve at 5, swing it 
with point 4 to point 6 and copy the shoulder part of the 
sleeve from 4 to 3-1 and 5 as per heavy line formation. 

7 from 2 is 3 Yz inches. 

8 is a point 3 inches from 2 and 3^ inches from 7. 

Shape the back part of the sleeve from 5 through 7 to 
8 and the front part from a point about 1 inch above 5 
through a point about l /z inch below 7 to 8, and the under 
arm seam from 8 downward as per diagram; finish as 
represented. 






35 


LADIES’ TAILOR-MADE GARMENTS. 


















36 


THE NEW “STANDARD'’ WORK ON DESIGNING 


SEMI-FITTED JACKET FOUNDATION 


This diagram represents the foundation for any style 
semi-fitted jacket or coat. 

The different construction points of this diagram, as well 
as on all the following ones, are numbered in rotation to 
facilitate the following up of the diagram in all the stages 
of its construction. 

The measures used for this diagram are as follows: 

39 Bust 
7 Back depth 
15 Back waist length 
7 Half back width 
10J4 Blade 
I2y 2 Front depth 
14 y 2 Top of dart 
22 Front waist length 
To Draft 

A is the point from which to square both ways. 

2 from A is y 2 the bust measure on the 24ths less 2. 

3 from 2 is the back depth. 

4 from 2 is the back waist length. 

5 from 4 is 7 inches. Square forward from 3, 4 and 5. 

6 from 5 is 34 inch. 

7 from 4 is 1 inch. Connect 6 and 7 to 2. 

8 is a point on the line 7-2. 

9 from A is 34 bust on the 8th less 2. Connect 9 and 2. 


10 from 8 is the half back width, and 

11 from A is the same. Connect 10 and 11. 

12 from 8 is the blade, square downward. 

13 from 12 is 134 inch, square up. 

14 is a point half way between 12 and 13. 

15 from 13 is 134 inch. 

16 from 12 is 34 bust on the 6ths. 

17 from 16 is 134 inch, square up. 

18 from 19 is 34 bust. Connect 18 and 19. 

19 from 18 is 34 inch. 

20 from I4 is the front depth applied less the width of 
the back part of the neck 9 to 2 at 14 as to where it fal s 
on the line squared up from 17; square forward. 

21 from 20 is 34 the bust on the 6th, draw line from 21 
down through 19. 

22 from 21 is 34 the bust on the 8th, shape the front 
part of the neck as represented. 

23 is a point half way between 2 and 3. Connect 23 
and 20. 

24 from 9 is the shoulder width, in this case 6 inches; 
shape the scye from 24 down to 12. as represented. 

25 from 20 is the same as 24 from 9; shape the front 
scye from 25 to 12, as per diagram, and shape the front 
shoulder from a point 34 inch above 20 to a point 34 
inch below 25. 








LADIES’ TAILOR-MADE GARMENTS 


37 


21 20 

























38 


THE NEW “STANDARD” WORK ON DESIGNING 


SEMI-EITTED JACKET 


This diagram illustrates a single-breasted, semi-fitted 
jacket with a peak lapel and a mannish collar. 

The foundation of this jacket and the construction points 
up to and including point 25 of same are identical as founda¬ 
tion on preceding page. 

To Draft 

26 from 7 is 3 l / 2 inches. 

27 from 6 is 34 inch more than 26 from 7; draw line 
from 26 through 27 downward. 

28 from 9 is halfway between 24 and 9; connect 28 to 
26. 

29 is a point on the line 28-26. 

30 from 26 is 1 inch. Draw a line from 30 through 29 
upward to a point 34 inch in front of 28 and add 34 inch in 
front of 24, a; indicated by the heavy line formation. 

31 from 27 is J4 inch ; draw a line from 30 to 31 down¬ 
ward. 

32 is a point on the line squared down from 12. 

33 is a point on the same line. 

34 from 12 is inch. 

35 from 32 is y 2 inch ; connect 34 to 35. 

..36 from 32 is >4 inch; connect 34 to 36. 

37 from 33 is y 8 inch ; draw a line from 36 through 37 
downward. 

38 from 33 Is y 8 inch ; draw a line from 35 through 38 
downward. 

39 is the top of dart, gained by applying it less the 
width of the back part of the neck 9-2 at 20 as to where 
it falls 4 inches in back of center front line. 


40 is the front waist length gained by applying it less 
the width of the back part of the neck 9-2 at 20, as to where 
it falls on the center front line; connect 40 and 36. 

41 from 40 is the same as 26 from 7; connect 41 and 39. 

42 from the center front line is 34 inch more than 41 
from 40; draw a line from 41 through 42 downward. 

43 from 20 is halfway between 25 and 20; connect 43 
and 39. 

44 from 43 is lf4 inches; shape the front seam from 

44 to 39 as represented. 

45 is a point 34 inch below the line 20 and 23, and is the 
same from 44 as 25 from 43; shape the front scye from 

45 to 34 as represented. 

46 from 36 on a sweep cast at 41 and pivoted, at 39, is 
the same from 36 as 35 from 30; connect 46 and 39. 
from 36 as 35 from 30; connect 46 and 39. 

47 from 42 is l / 2 inch more than 46 from 41 ; draw a line 
from 46 through 47 downward. 

The length of this jacket is 32 inches. To shape the bot¬ 
tom in this case, the back measures from 7 to full length, 
17 inches, that same measurement must be applied from 
26, 30, 35 and 36, downward. From 46 and 41 downward 
the measurement will be y 2 inch less than on the previous 
numbers. This should in all cases give an even bottom. A 
lap of 134 inches is allowed on the front. The crease line 
of the lapel, and collar as indicated by the double line 
formation, is drawn from a point about 3 inches below 

19 through a point 34 inch in front of 20. The stand of 
the collar is 134 inches. The length of the collar from 

20 upward is 2^4 inches. Finish as represented. 









LADIES’ TAILOR-MADE GARMENTS. 


39 











































40 


THE NEW “STANDARD’’ WORK ON DESIGNING 


1 


SEMI-FITTED KIMONA JACKET 


The foundation of this jacket is the semi-fitted foundation 
up to and including point 21 as described on a previous 
page. 

22 from 8 is 34 of the line 8-2; connect 22 and 19. 

23 from 21 is the same as 22 from A; connect 23 and 9. 

24 is a point halfway between 10 and 13; square down¬ 
ward. 

25 is a point on the line squared down from 24, and 

26 is a point on the same line. 

27 from 7 is 3J4 inches. 

28 from 6 is Yi inch more than 27 from 7; draw a line 
from 27 through 28 downward. 

29 from 9 is 3 inches; connect 27 and 29. 

30 is a point on the line 27-29. 

31 from 27 is 1 inch; shape side part from 31 through 
30 to a point 34 inch in front of 29. 

32 from 28 is y 2 inch; draw a line from 31 through 32 
downward. 

33 from 25 is J4 inch; connect 33 and 24. 

34 from 26 is inch ; draw line from 33 through 34 
downward. 

35 from 26 is y inch ; draw a line from a point J4 inch 
in front of 25 through 35 downward and a line from the 
same point to 24. 

36 from 24 is 3 inches. 

37 from 23 is 34 inch; draw a line from a point J4 inch 
in front of 29 through 37, thus giving the sleeve line of the 
back part. 


38 is the top of dart gained by applying it, less the 
width of the back part of the neck 9-2 at 19, as to where 
it falls 4 inches in back of the center front line. 

39 is the front waist length gained by applying it, less 
the width of the back part of the neck 9-2 at 19, as to 
where it falls on the center front line; connect 39 and 25. 

40 from 39 is the same as 27 from 7. 

41 from the center front line is 34 inch more than 40 
from 39; draw a line from 40 through 41 downward. 

42 from 19 is 3 inches; draw a line from 40 through 38 
to 42 and reshape the front shoulder from 42 to a point 34 
inch above 19. 

43 from 42 is 1J4 inches. 

44 from 40 is 2 )/ 2 inches on a sweep cast at 40 pivoted 
at 38; shape the front part from 44 through 38 to 43 as 
represented. 

45 from 41 is 34 inch more than 44 from 40: draw a line 
from 44 through 45 downward. 

46 from 22 is \],\ inches; draw a line from 43 through 
46, thus giving the sleeve line of the front part. 

The sleeve length which is 29 inches is to be measured 
from 19 to 42 and from 43 along the front sleeve line and 
the bottom of the sleeve to be squared out from the line 
43-46, and the width of the sleeve to be connected with 36. 
The same is to be done with the back part of the sleeve; 
finish as represented. 



41 


LADIES’ TAILOR-MADE GARMENTS. 























































42 


THE NEW “STANDARD” WORK ON DESIGNING 


TIGHT-FITTED JACKET FOUNDATION 

All the construction points of this foundation are the 
same as on diagram page 36, and have the same measure¬ 
ments. This being a tight-fitted jacket foundation, the 
suppression of the center back line consequently is greater 
than on the previous foundations. The only measure¬ 
ments, therefore, to be altered are as follows: 

6 from 5 is 1 l /i inches. 

7 from 4 is 2 inches. 



LADIES’ TAILOR-MADE GARMENTS. 




























44 


THE NEW “STANDARD’’ 


WORK ON DESIGNING 


TIGHT-FITTED JACKET, SINGLE DART 


The feature of this diagram is a tight-fitted, single- 
breasted jacket, with a shawl collar. 

The foundation of same is identical to the one of the 
preceding page. 

The construction points from A and up to and including 25 
are described on page 36. 

To Draft 

26 from 7 is 1-3 of % waist less y inch. 

27 from 6 is 1 inch more than 26 from 7; draw a line 
from 26 through 27 downward. 

28 is a point halfway between 24 and 9; connect 26 and 
28. 

29 is a point on the line 26-28. 

30 from 26 is 1 inch ; shape back seam from 30 through 
29 to a point y inch in front of 28. 

31 from 27 is y 2 inch; shape the back seam from 30 
through 31, downward. 

32 from 12 is y 2 inch. 

33 from the line squared down from 12 is y 2 inch; con¬ 
nect 33 and 32. 

34 is a point halfway between 30 and 33; square down¬ 
ward. 

35 from 34 is y inch; draw a line from 35 through 10 
upward. 

36 from 34 is y inch; draw a line from 36 to 10. 

37 is a point on the line squared down from 34. 

38 is a point on the line squared down from 12. 

39 from the blade line is y inch ; connect 39 and 32. 

40 is the top of dart gained by applying it, less the 


width of the back part of the neck 9-2 at 20, as to where 
it falls 4 inches in back of the center front line. 

41 from 20 is the front waist length gained by applying 
it less the width of the back part of the neck 9-2 at 20, as 
to where it falls on the center front line; connect 41 
and 39. 

42 from 41 is y 2 inch more than 26 from 7; connect 42 
and 40. 

43 from the center front line is l /\ inch more than 42 
from 41 ; draw a line from 42 through 43 downward. 

44 from 20 is the same as 28 from 9; shape the front 
shoulder from 44 to a point y inch above 20. 

45 from 44 is iy inch; shape the front seam from 45 
to 40, as represented. 

46 is a point y inch below the line 20-23 and is the 
same from 45 as 24 from 28; shape the front scye from 
46 to 12, as per diagram. 

47 from 39 is waist less the front part 41-42; on a 
sweep cast at 42 and pivoted at 40; connect 47 and 40. 

48 from 43 is y inch more than 47 from 42; draw a 
line from 47 through 48, downward. 

49 from 37 is y 2 inch. 

50 from 37 is y 2 inch; draw a line from 36 through 49 
and a line from 35 through 50 downward. 

51 from 38 is ^ inch. 

52 from 38 is y inch ; draw a line through 51 and a line 
from 33 through 52 downward. 

The construction of the collar is identical to the one de¬ 
scribed on a preceding diagram ; finish as represented. 



LADIES’ TAILOR-MADE GARMENTS 


45 

















































46 


THE NEW “STANDARD” WORK ON DESIGNING 


TIGHT-FITTED JACKET, DOUBLE DART 


This diagram represents a tight-fitted jacket with two 
seams running over the shoulders and two darts at the front, 
ordinarily called “douhle-dart jacket.” 

The foundation up to and including point 25 is con¬ 
structed as described on page 36. The measurements are 
also the same. 

26 from 7 \s % oi % waist, less 34 incn. 

27 from 6 is 1 inch more than 26 from 7; draw a line 
from 26 through 27, downward. 

28 is a point on the line squared down from 12. 

29 from 9 is 34 of the shoulder width which is in this 
case 5 l / 2 inches; connect 26 and 29. 

30 is a point on the line 26-29. 

31 from 26 is 34 inch ; connect 31 and 30. 

32 from 27 is inch; draw a line from 31 through 32 
downward. 

33 from 31 is the same as 26 from 7. 

34 from 24 is *4 of the shoulder width ; connect 34 

and 33. 

35 is a point on the line 34-33. 

36 from 33 is 34 inch; connect 36 and 35 and shape the 
back seams from 35 to a point 34 inch in front of 34. Square 
down from a point halfway between 36 and 33. 

37 from the line just squared down, and 

38 from the same line is >4 inch respectively; draw a 
line from 33 through 38 downward and a line from 36 
through 37 downward. 

39 from 10 is >4 inch. 

40 is a point on the line squared down from 12. 

41 from 12 is ]/ 2 inch. 

42 from 28 is inch ; connect 41 and 42. 

43 from 28 is 34 inch ; connect 41 and 43. Find the 
center between points 36 and 42 and square down from the 
waist line. 

44 from the line just squared down and 45 from the 
same line is 34 inch respectively ; connect 45 and 39 and 
44 and 39. 

46 from 20 is the top of dart gained by applying it less 
the width of the back part of the neck 9-2 at 20. as to where 
it falls 3 inches back of the center front line; draw a line 
from 8 through 46. 


47 from 46 is 3 inches. 

48 from 20 is the front waist length gained by applying 
it less the width of the back part of the neck 9-2 at 20, 
as to where it falls on the center front line; connect 48 
and 43. 

49 is a point on the center front line. 

50 from 48 is 34 inch more than 26 from 7; connect 50 
and 46. 

51 from 49 is 34 inch more than 50 from 48; draw a 
line from 50 through 51 downward. 

52 from 20 is the same as 29 from 9; connect 52 and 46. 

53 from 50 is 234 inches on a sweep coat at 50. pivoted 
at 46; connect 53 and 46 and 53-43. 

54 from 51 is 34 inch more than 53 from 50; draw a line 
from 53 through 54 downward. 

55 from 53 is / 2 inch more than 50 from 48; connect 55 
and 47. 

56 from 54 is 34 inch more than 55 from 53; draw a line 
from 55 through 56, downward. 

57 from 25 is the same as 52 from 20; draw a line from 
57 to 47. 

58 from 57 is 134 inches; connect 58 and 47. 

59 from 58 is the same as 25 from 57 at a point 34 inch 
below the front shoulder line. 

Reshape the front scye from 59 to 12 and from a point 
34 inch in front of 24 downward as represented. 

60 from 43 is 34 waist less the width of the two front 
parts. 53-55 and 50-48 on a sweep cast at 55 pivoted at 
47; connect 60 and 47. 

61 from 56 is 34 inch more than 60 from 55 ; draw a line 
from 60 through 61 downward. 

62 from the line squared down from the center between 
44 and 45, and 

63 from the same line is 34 inch respectively; draw' a 
line from 45 through 63 and from 44 through 62 down¬ 
ward. 

64 from 40 is 34 inch. 

65 from 40 is 34 inch ; draw a line from 52 through 65, 
and a line from 43 through 64 downward. 

Finish as represented. 






LADIES’ TAILOR-MADE GARMENTS 


47 

































































43 


THE NEW “STANDARD” WORK ON DESIGNING 


“PRINCE ALBERT” CUT TIGHT-FITTED JACKET 

The feature of this diagram is a tight-fitted waist line, cut 
through at the waistline and the skirt part cut in one piece 
from the center front to the back seam. The foundation of 
this jacket and the points up to and including point 25, 
are the same as described under tight-fitted jacket foun¬ 
dation. The remainder of this diagram—that is, points 
26-27 and points 30 to 51—are drafted and are identically 
the same as described under heading of tight jacket, sin¬ 
gle dart. The back seam as illustrated curves into the arm 
scye. A pleat of 1 inch at the waist line and \ l / 2 inches at 
the bottom is allowed from points 26 and 30 downward. 

At the center back seam from 7 downward. 1 inch at the 
waist line and \]/ 2 inches at the bottom is allowed for 
a vent. 

28 from 8 is double the amount as 26 from 7. Connect 
26 and 28. 

29 from 10 is 3 inches, shape the back seam from 26 
through 28 to 29 as represented and shape the side part 
from 30 through a point l /\ inch in front of 28 to a point 

inch in front of 29. Reshape the arm scye from that 
point to 32 as illustrated by the heavy line formation. 

A lap of 2y A inches at a point about 2y 2 inches below 
the bust line, 1 y 2 inches at the waist line and 2*4 inches 
again at the hip line, is allowed, thus giving a semi-double 
breasted effect. A peak lapel is generally, although not 
exclusively, made for this style jacket. 

The assembling of the different skirt parts as outlined 
by the double line formation is illustrated and described 
on the following page. 







LADIES’ TAILOR-MADE GARMENTS 























































50 


THE NEW “STANDARD” WORK ON DESIGNING 


“PRINCE ALBERT” CUT TIGHT-FITTED JACKET 

continued 


The skirt part of the jacket from the preceding page is 
manipulated as follows: 

The skirt parts of the different parts of the jacket from 
points 45-50, 41-33, 38-37 and 30 downward, after being 
traced and cut out, are laid together as indicated by the 
double line formation and copied as one piece. 

Should extra fulness or flare be desired at the bottom of 
the skirt, the different parts must be spread at the bottom 
to the amount necessary to give the desired effect. 







LADIES’ TAILOR-MADE GARMENTS 


51 














52 


THE NEW “STANDARD” WORK ON DESIGNING 


MANNISH JACKET 

This diagram illustrates a strictly mannish cut in a lady’s 
jacket. 

The construction points up to and including point 25, and 
the measurements, are the same as described on page 36. 

26 from 19 is 3 inches. 

27 is a point gained by squaring from the bust line 
through point 26, downward. 

28 from 7 is 2 inches less than 10 from 8. 

29 from 6 is 1 inch more than 28 from 7; draw a line 
from 28 through 29 downward. 

30 from 10 is 1 inch ; connect 30 and 28. 

31 from 10 is 1% inches; shape the back seam from 28 
through 30 to 31, as represented. 

32 from 28is 1 inch; shape a line from 32 through a 
point inch in front of 30 to a point Y\ inch in front of 
31, as indicated. 

33 from 29 is l / 2 inch; draw a line from 32 through 33 
downward. 

34 from 12 is y 2 inch. 

35 is a point on the line squared down from 12. 

36 from the blade is l / 2 inch and 37 from the blade 
line is the same. Connect 36 and 37 to 34 and 36 and 37 
to 35, as represented. 

A dart of about 1 inch as illustrated is generally cut 
under the lapel to shorten the front. 

Finish as per diagram. 









53 


LADIES’ TAILOR-MADE GARMENTS. 





















































54 


THE NEW “STANDARD'’ WORK ON DESIGNING 


SEMI-FITTED JACKET 

Erect Form to Special Measures. 


To illustrate the special features of this form to better 
advantage a large measurement has been selected. The 
principle laid down for the drafting of this pattern is 
identically the same as would be applied to a smaller 
measurement, it is therefore for the reason above men¬ 
tioned that these comparatively large measurements are 
used for demonstration. 

The measures are as follows : 

51 bust 8 half back width 

31 waist 12 blade 

46 hips 14^4 front depth 

7}4 back depth 16}4 top of dart 

15j4 back waist length 26 front waist length 

32 full length 

To Draft. 

A is the point from which to square both ways. 

2 from A is 54 bust on the 24ths less tw r o. 

3 from 2 is the back depth. 

4 from 2 is the back waist length. 

5 from 4 is 854 inches. The hip measures in this case 
have been taken 854 inches below the waist line. Square 
forward from 3-4 and 5. 

6 from 5 is 54 inch. 

7 from 4 is 1 inch. Connect 7 to 2 and draw a line from 
7 through 6 downward. 

8 is a point on the line 7-2. 

9 from A is / bust on the 8ths less two, shape the neck 
line from 9 to 2. 

10 from 8 is the half back width, and 

11 from A is the same. Connect 10 and 11. 

12 from 8 is the blade, square downward. 

13 from 12 is 1J4 inch. 1/16 inch is added to 1^4 inch 

for every 2 inches more bust from 42 bust upward; square 
up from 13. . .... j ( 

14 is half way between 12 and 13. 

15 from 13 is 154 inch. 

16 from 12 is 54 bust on the 6ths. 

17 from 16 or 1^4 inch. 54s inch is added to 1% inch 
for every 2 inches more bust from 42 bust upward ; square 
up from 17. 

18 from 8 is 54 bust, connect 18 and 9. 

19 from 18 is 54 inch. 

20 from 14 is the front depth, as applied, less the width 
of the back part of the neck 9-2, at 14 to where it falls on 
the line squared up from 17; square forward. 

21 from 20 is 54 bust on the 6ths, draw a line from 21 
through 19 downward. 

22 from 21 is 54 bust on the 8ths; shape the front neck 
line from 20 to 22. 

23 is a point half way between 2 and 3; connect 23 
and 20. 


24 from 7 is 154 inch less than 26 from 2 on a straight 
line. 

25 from 6 is 54 more than 24-7; draw a line from 24 
through 25 downward. 

26 from 9 is 54 shoulder width, 3 inches; connect 24 
and 26. 

27 is a point on the line 24-26. 

28 from 24 is 1 inch. 

29 from 25 is 54 inch ; draw a line from 28 through 29 
downward. 

30 from 26 is Yz inch. That amount of supression be¬ 
tween the two points is taken on account of it being a 
large measurement. For a small, erect figure, 54 inch or 
less is sufficient. Shape the back seam from 28 to 30 as 
per diagram. 

31 from 30 is the same as 26-9; shape the back scye 
from 31 to 54 inch below 12 as illustrated. 

32 is a point on the line squared down from 12. 

33 is a point on the same line. 

34 from 12 is 54 inch. 

35 from 32 is 54 inch, and 

36. from 32 is the same; connect 35 and 36 to 34. 

37 is the top of dart gained by applying it less the 
width of the back part of the neck 9-2 at 20 as to where 
it falls 554 inches in back of the center front line. 

39 is a point gained by squaring 37 from a point 154 in 

oack of 38. ) 

40 from 38 is 154 inch ; draw a line from 39 through 40 
downward. 

41 from 40 is the same as 24 from 7. 

42 from the center front line is 54 inch more than 41 
trom 40. 

43 from 20 is 54 shoulder width ; shape the shoulder 
from 43 to a point Y inch above 20 and the front from 43 
through 37-41 and 42 downward. 

44 from 43 is 54 bust on the 6ths on a sweep cast at 43 
pivoted at 37; square back from points 44-37. 

45 from 44 is 54 shoulder width ; shape the front scye 
from 45 through 15-14, to 54 inch below 12. 

46 from 36 is the same as 35 from 28, on a sweep cast 
at 41 pivoted at 37. 

47 from 42 is 54 inch more than 46 from 41 ; draw a line 
from 46 through 47 downward and shape the front seam 
from 44 through a point about Y% inch back at 37 to a 
point about 2 inches below 46. 

48 from 33 is 54 inch, and 

49 from 33 is the same; draw a line from 36 through 
48 and from 35 through 49 downward. 

A lap of 154 inches allowed to the front. 

Finish as represented. 










55 


LADIES’ TAILOR-MADE GARMENTS.- 































































56 


THE NEW “STANDARD” WORK ON DESIGNING 


SEMI-KITTED JACKET 

Stooping Form to Special Measure. 


A semi-fitted jacket has been selected to illustrate 
the construction of a pattern for a stooping form prin¬ 
cipally for the reason that the position of the seams of 
this jacket is ideal and are very conveniently located to 
illustrate and to bring out the different characteristics 
of this form. 

The measures are as follows: 

43 bust 8 half hack width 

36 waist liy blade 

49 hips 12 y 4 front depth 

7/4 back depth 16 top of dart 

16 back waist length 21 y> front waist length 


To Draft. 

A is the point from which to square both ways. 

2 from A is l /z bust on the 24ths less 2. 

3 from 2 is the back depth. 

4 from 2 is the back waist length. 

.,5 from 4 is 8 inches; the hip measures having been 
taken 8 inches below the waist line. 

6 from 5 is j4 inch. 

7 from 4 is 1 inch ; draw a line from 7 to 2, and from 7 
through 5 downward. 

8 is a point on the line 7-2. 

9 from A is bust on the 8ths less 2; shape the back 
part of the neck from 9 to 2. 

10 from 8 is the half back width, and 

11 from A is the same; connect 10 and 11. 

12 from 8 is the blade; square downward. 

13 from 12 is \]/ 4 inch; square up. 

14 is a point half way between 12 and 13. 

15 from 13 is 1 1 / 4 inch. 

16 from 12 is '/* bust on the 6ths. 

17 from 16 is 1 1 / 4 inch ; square up. 

18 from 8 is /> bust; connect 18 and 9. 

19 from 18 is J4 inch. 

20 is the front depth gained, by applying it. less the 
width of the back part of the neck, 0-2 at 14 as to where 
it falls on the line squared up from 17; connect 14 and 20, 
and square forward. 

21 from 20 is bust on the 6ths, draw a line from 21 
through 19 downward. 

22 from 21 is '/> bust on the 8ths; shape the front part 
of the neck from 20 to 22. 


23 is a point half way between 2 and 3; connect 23 and 
20 . 


24 from 9 is the shoulder width plus 1 inch; the shoul¬ 
der width is 6 inches. Shape the back scye from 24 to 12 
as per diagram. 

25 from 20 is the shoulder width; shape the front scye 
from 25 to 12. 

26 from 7 is I /> inch less than 28 from 2 on a straight 
line. 


27 from 6 is y inch more than 26 from 7; draw a line 
from 26 through 27 downward. 

28 from 9 is J4 the shoulder width ; connect 26 and 28. 

29 is a point on the line 26-28. 

30 from 26 is 1 inch. 

31 from 27 is y inch; draw a line from 30 through 31 
downward. 

32 from 28 is 1 inch, and l /\ inch above the line 0-18; 
shape the back seam from 30 through 20 to 32 as repre 
sented. Note the big supression 32-28 thus giving a 
round or stooping back part. 

33 from 12 is y> inch. 

34 is a point on the line squared down from 12. 

35 is on the same line. 

36 from 34 is x /> inch ; connect 36 and 33. 

37 from 35 is y inch ; connect 37 and 36. 

38 from 34 is '/> inch ; connect 38 and 33. 

39 from 35 is y inch ; connect 30 and 38. 

40 is a point on the line squared from 4. 

41 is the to]> of dart, gained by applying it, less the 
width of the back part of the neck 0-2 at 20 as to where 
it falls 4*4 inches in back of the center front 6111 -. 

42 is the front waist length, gained by applying it, less 
tin- back part of the neck 0-2 at 20 , as to where it falls 
on the center front line; connect 42 and 38. 

In this case, it will be noted, the front waist length falls 
above the back waist line, illustrating a short front and 
a long back ; in a normal or in an erect figure the front 
waist length falls in all cases below the hack waist line. 

43 from 42 is the same as 26 from 7. 

44 from the center front line is { / 4 more than 43 from 
42; draw a line and 43 through 44 downward. 

45 from 20 is / 2 shoulder width ; shape the front shoul¬ 
der from 45 to a point y inch .above 20 and draw a line 
Irom 45 through 41 to 43 as represented. 

46 from 45 is 1 y inch ; shape the front seam from 46 to 
41 as illustrated. 

47 from 46 is /> shoulder width at a point y. inch below 
the front shoulder line; connect 47 and 46 and reshape the 
front scye from 47 to 12 as per diagram. 

48 from 38 is the same as 36 from 30. 

49 from 44 is '/> inch more than 48 from 43; draw a line 
from 41 through and 40 downward. The broken line 
formation at the front and side seams indicate the points 
obtained by strictly following the measures and rule as 
used for normal figures. I lie front seam must now be 
reshaped from 41 through a point ; hj in back of 48 to 40 
as indicated by the heavy line to give the front a semi 
fitted eflcct, and the side seam shifted backward until 
both the front and back side parts measure the same at 
the waist line. The heavy line formation at the side seam 
clearly illustrate the manipulation of the same. Finish 
as per diagram. 


LADIES’ TAILOR-MADE GARMENTS 


57 
























































58 


THE NEW “STANDARD” WORK ON DESIGNING 


THE CAPE 


The construction of a cape is more or less of a mani¬ 
pulation, as it is not drafted directly as is a coat or jacket. 

In the accompanying diagram a one and a two-piece 
cape is illustrated. 

A plain box coat is first drafted to the required meas¬ 
ures or size and cut out. 

To Draft 

A is the point from which to square both ways, the 
back part of the coat is then laid with the center back 
on the line A-2, and the front part of the coat with the 
center front on the line A-3 in such a way that the shoul¬ 
der points of both back and front should be 34 inch apart 
at point 8 . 

The neck and shoulder of the front and back parts is 
then copied. 

2 is the neck point at the center back. 

3 is the neck point at the center front; connect 2 and 3. 

4 from 3 is 34 of the line 2-3 less 34 inch. 

5 from 2 is the length of the cape. 

6 from 5 is 54 inch ; cast a sweep from 6 forward, pivot¬ 
ing at 4, and connect 5 with the lowest part of the sweep. 
This concludes the one-piece cape. 

While the one-piece cape is cut with a dart on the 
shoulder only, the two-piece cape is cut with a seam 
from the shoulder all the way down, as follows: 

7 is a point halfway between the two neck points. 

8 is a point halfway between the two shoulder points. 
Draw a line from 7 through 8 downward. 

9 from 8 is 6 inches. Shape the side of the front and 
back parts from 8 through 9 downward, as illustrated, 
and finish as represented. 














LADIES’ TAILOR-MADE GARMENTS 


59 



























60 


IDE NEW “STANDARD” WORK ON DESIGNING 


TWO-PIECE SLEEVE 


To construct this sleeve the armhole of the jacket or coat 
for which this sleeve is intended is traced out, including the 
bust line, the front notch of the armhole, 1% inches above 
the bust line and another notch lTt inches above the bust 
line on the back part. 

The Measurements are as follows: 

From armpit to elbow, 7*4 inches. 

Inside sleeve length, 19 inches. 

Width at elbow, 12 inches. 

Width at wrist, 9 inches. 

To Draft 

A. line is drawn as indicated on diagram from 2 to 7. 

1 is a point from which to square out both ways, hold- 
ng the square at point 1 on the line 2-7 and x / 2 inch away 
from that line at a point 12 inches below 1 as indicated by 
'he broken line formation. The armhole is then laid 
with the bust line on the line squared out frc m 1 with 
the front notch of the armhole crossing the line 2-7, as 
indicated by the broken line formation, the armhole is 
then copied between the front and back notch of the 
armhole. 

The circumference of the armhole is then measured, de¬ 
ducting from same 2 / 2 inches, thus giving the working 
number to construct the upper part of the sleeve, which in 
this case is 15. 

2 from 1 is 15 on the 4ths; draw a line parallel to the 
line squared out from 1. 


3 from 2 is 15 on the l / 2 . 

4 is a point half way between 2 and 3; square up. 

5 from 4 is 15 on the 12ths. 

6 from 1 is the elbow, 7y 2 inches; square backward. 

7 from 1 is the full length, 19 inches. 

8 from 6 is V/ 2 inches; connect 7 and 8 and draw a line 
from 8 to the front notch of the armhole. 

Square backward from 8. 

9 from 8 is half the elbow width. 

10 from 9 is 1 inch. 

11 from 9 is 1 inch; connect 10 and 3 and 11 and 3. 

12 from 7 is 4/ 2 inches on a sweep cast at 7 pivoted at 
3; connect 10 and 11 to 12. 

13 from the line drawn up from 8 is lj4 inches, and 

14 from the same line is lj4 inches. 

15 frcm 8 is 1 inch; connect 15 and 13. 

16 from 8 is 1 inch ; connect 16 and 14. 

17 from 7 is y inch; connect 17 and 15. 

18 from 7 is %inch, connect 18 and 16. 

19 from the back notch on armhole is 1 inch on a line 
drawn from 3 to the armhole. 

20 from the line 11-3 is the same as 19 from the line 

10-3; on a sweep cast at 19 pivoted at 9. Shape the head 
of the top sleeve from 20 through 3-5 to 13 and the 
under sleeve from 19 to 14 as per diagram. Finish as 
represented. . 













0 


LADIES’ TAILOR-MADE GARMENTS. 

























62 


THE NEW “STANDARD” WORK ON DESIGNING 


THE RAGLAN SLEEVE 


This sleeve in effect is an ordinary two-piece sleeve with 
a portion of the front and back shoulder added to the top 
sleeve. This pattern is manipulated generally from a box 
coat and a two-piece sleeve, as described in the following 
paragraphs. 

After the front and back of the box coat is cut out a line 
is drawn from the neck of the front and back part down¬ 
ward to meet the armhole as follows: 

1 from the neck point on the back part is 1 inch, draw 
a line from 1 downward as to where it will fall to the back 
scye about \ l / 2 inch above the bust line; shape another line 
from 1 downward about 1 inch away from the straight 
line. 

2 from the neck point on the front part is 1 inch. The 
same lines are drawn on the front part as on the back part. 

The two shoulder parts, as outlined with the heavy line 
formation, are cut out and added to the sleeve, as illus¬ 
trated and described on the following page. 











LADIES’ TAILOR-MADE GARMENTS. 


63 























04 


THE NEW “STANDARD" WORK ON DESIGNING 


RAGLAN SLEEVE 

Continued 

A two-piece sleeve, as illustrated on a previous page, is 
drafted first and the two portions of the front and back 
shoulder are added as follows: 

The points 2, 3, 4 and 5 are the same as used in drafting 
the two-piece sleeve. 

6 is a point inch from the line 2-3, and inch from 
the line 4-5. 

The front shoulder part is then laid with the shoulder 
point on 6, the other point on the sleeve line of the front 
part of the sleeve as illustrated by the broken line formation. 

The back shoulder part is laid with the shoulder point 
on 6 and at 3, as illustrated. 

A line is then drawn through the center of the top sleeve 
up through 4, to the neck point of the front shoulder part, 
and from 4 the neck point of the back shoulder part. Addi¬ 
tional width to the top sleeve may be added, if desired, as 
illustrated by the heavy line formation on each side of the 
center line of the top sleeve. Finish as represented. 




LADIES’ TAILOR-MADE GARMENTS. 


65 























66 


THE NEW “STANDARD" WORK ON DESIGNING 


LARGE SIZE TWO-PIECE SLEEVE DRAFTED 

TO SPECIAL MEASURES 


Width measures: 

18 Upper arm 
15 Elbow 
11 Wrist 

Length measures: 

8 Elbow 
18 Full length 
To Draft 

Draw a line as shown by numbers 2-7 and square from 1 
both ways the same as described in the construction of the 
two-piece sleeve on a previous page. 

2 from 1 is 18 on the 4ths; draw a line parallel to the 
line squared from 1. 

3 from 2 is 18 on the halfs. 

4 is a point half way between 2 and 3; square up. 

5 from 4 is 18 on the 12ths. 

6 from 1 is the elbow, 8 inches, square backward. 

7 from 1 is the full length, 18 inches. 

8 from 6 is 1*4 inch, square backward from a line 
drawn from 8 to 7. 

9 from 8 is }4 the elbow’ width, 7*4 inches. 

10 from 9 is 1 inch, and 


11 from 9 is the same, connect 10 to 3 and 11 to 3. 

12 from 7 is y 2 wrist measure, 5 l / 2 inches, on a sweep 
cast at 7, pivoted at 3; connect 12 to 10 and 12 to 11. 

to 11. 

13 from 12 is y 2 inch, and 

14 from 12 is the same. 

15 from 1 is 1*4 inch; connect 8 and 15. 

16 from the line 8-15 is 1*4 inch, and 

17 from the same line is the same. 

18 from 8 is 1 inch, and 

19 from 8 is the same. 

20 from 7 is % inch, and 

21 from 7 is the same; shape and front seam from 17 
through 18 to 21, and from 16 through 19 to 20 as repre¬ 
sented. 

Draw a line from 3 to a point halfway between the line 
10-3 and 1. 

22 from the line 10-3 is about 2 inches, and 

23 from the line 11-3 is the same, on a sweep cast 
at 22, pivoted at 9. 

Shape the elbow r seam from 22 through 10 to 13, and 
from 23 through 11 to 14. Finish as represented. 




LADIES’ TAILOR-MADE GARMENTS. 


67 



7 
























68 


THE NEW “STANDARD” WORK ON DESIGNING 


TWO-PIECE BELL SLEEVE 

This sleeve, used almost exclusively on jackets, is drafted 
the same as the two-piece sleeve illustrated on a previous 
page. The bell effect is draftd as follows: 

The points 9, 10, 11 and 12 are the same as used in 
drafting the two-piece sleeve. 

13 from 12 is 3 inches. Connect 10 and 11 to 13 and 
shape the bell effect from 13 downward to any shape or 
length desired. The under sleeve and top sleeve from 13 
downward have the same shape. 









LADIES’ TAILOR-MADE GARMENTS. 


69 


0 























70 


THE NEW “STANDARD” WORK ON DESIGNING 


ONE-PIECE COAT SLEEVE 


This sleeve is generally and almost exclusively drafted 
for coats where one of the features of the style is a deep 
armhole. The size armhole this sleeve is drafted for is 20 
inches; the length of the sleeve as taken from the point of 
the shoulder down is 23 inches. 

TO DRAFT 

1 is the point from the which to square both ways. 

2 from 1 is 5 inches. 

3 from 1 is 4 inches. 

4 from 2 is j /2 armhole measure. Connect 4 to 2 and 
square point 4 from the line 2-1. 

5 from 4 is the sleeve length, square forward. 

6 from 5 is 6^2 inches, or any width desired. Draw a 
line from 6 to a point Y\ inch in back of 2 , and shape the 
inside seam from 2 downward as represented. Shape the 
back part of the sleeve from 4 through a point inches 
above 3, down to 2, and the front part of the sleeve about 
1 inch below the line of the back part of the sleeve. 

The bottom of the sleeve as illustrated is curved down 
Y inch below the straight line for the back part, and inch 
above the line for the front part of the sleeve. 

The heavy line on one side and the double line formation 
on the other side illustrate the sleeve when completed. 














LADIES’ TAILOR-MADE GARMENTS. 


71 

















72 


THE “STANDARD ’ WORK ON CUTTING 


BELL CUFF FOR THE ONE-PIECE SLEEVE 


The broken line formations on the sleeve part of this 
diagram indicate the place where lines should be drawn or 
the sleeve is to be folded to facilitate the drafting of the 
bell cuff. The depth of the cuff is generally about 6 or 7 
inches. A line is drawn across the sleeve as indicated by the 
double line and the bottom portion cut off. At the bottom 
and front part of the cuff generally about % inch is added 
to the back part, about 2 Yz inches more width and about 
2^4 inches more length is added to give the bell shape, or 
more or less to give the desired effect. 

The heavy line formation illustrates the cuff when 
finished. 






LADIES' TAILOR-MADE GARMENTS. 


73 


* 






















74 


THE NEW “STANDARD’’ WORK ON DESIGNING 


THE CUFF FOR A TWO-PIECE SLEEVE 


The accompanying diagrams illustrate different style cuffs 
for different style two-piece sleeves. Very little description 
is needed to describe the construction of the different 
cuffs, as the diagrams speak for themselves. 

The under sleeve is laid on top of the top sleeve in the 
same position as on the draft of the sleeve and the top sleeve 
folded over at the front and gack seam to meet the under 
sleeve. The front fold of the sleeve is then laid on to a 
folded piece of paper and the cuff is drawn to any width or 
style required. 






































76 


THE “STANDARD'’ WORK OX CUTTING 


DARTED SHAWL COLLAR 

This collar is used sometimes where a low stand and a 
shaped collar is preferred. The thin outlines indicate the 
front and back parts of a box coat cut-out. 

Front Part of Collar 

1 is a point inch below the neck point. 

2 is a point 2 inches below the shoulder point. Draw a 
line from 2 through 1 outward. 

3 from l is y inch, the crease line is drawn as indi¬ 
cated by the double line formation. 

4 from 3 to 1% inches. Shape the neck line of the 
collar from 4 down to meet the neck line of the front 
part, and a line from 4 to meet the line 2-1. Finish as 
outlined by the heavy line formation. 

Back Part of Collar 

1 and 2 are points on the back part of the neck. 

3 from 1 is 1*4 inches at a point y inch in back of a 
line drawn straight up with the center back line. 

4 from 2 is 134 inches at a point 2*4 inches in front of 
3; connect 4 and 3. 

Shape the center back of the collar from 3 through 1 
down to a point 1 inch in front of the center of the back, 
and the shoulder seam of the collar from 4 through 2 down 
through a point inch below the shoulder point. 

Measure the width of the collar to correspond to the 
width of the front part of the collar, shape and finish as 
represented. 





LADIES' TAILOR-MADE GARMENTS. 


77 
















78 


THE NEW “STANDARD” WORK ON DESIGNING 


SHAWL COLLAR 


The accompanying diagram illustrates a shawl collar 
made for a different requirement and made in a different 
way than the one described on another page. 

As illustrated, the back and the front of the coat this 
collar is needed for, is laid together at the shoulder line 
and copied. The neck line of the collar is then drawn from 
the neck line of the front part, backward, parallel with the 
center back line. The length of the collar is then measured 
along that line and the center back of the collar squared 
from the neck line. Measure the width of the collar from 
the neck line upward and shape as required. The broken 
line formation indicates the outline of the facing. 
















80 


THE NEW “STANDARD” WORK ON DESIGNING 


COLLARS 

All the accompanying diagrams are foundations for different types of collars. A typical 
style of collar is drafted on each foundation, but practically all styles can be 
drafted on these foundations by modifying the outline of the collars, the 
foundation lines remaining the same in almost all cases. 


Fig. I 

Stand-Up or Flare Collar for a Low Neck 

1 is the point from which to square both ways. 

2 from 1 is 7 inches. 

3 from 2 is 2y 2 inches. 

4 from 1 is 5 inches; draw a line from 4 through 3, 
downward. 

5 from 4 is 1 inch; draw the center back line from 1 to 
5, and shape the neck line from 1 through a point about ^2 
inch in back of 3 as illustrated. Draft the length, width 
and shape of the collar as required. 

Fig. Ill 

Lay-Down Collar 

1 Is the point from which to square both ways. 

2 from 1 is \ l / 2 inches. 

3 from 2 is 7 inches; connect2 and 3, and shape the 
neck line from 2 to 3 as illustrated. 

The double line formation above the neckline indicates 
the crease line of the collar which is as a rule about 1*4 
inches above 2. 

The style collar illustrated here is an ordinary lay-down 
collar, although it may be shaped to any width, length or 
style desired. 


Fig. II 

Military or Turn-Over Collar 

1 is the point from which to square both ways. 

2 from 1 is 2% inches. 

3 from 1 is 7 inches; square up. 

4 from 3 is *4 inch; shape the neck line from 4 to a 
point about halfway between 3 and 1. 

5 from 4 is 2*4 inches at a point *4 inch in back of the 
line squared up from 3 ; connect 5 and 4 and 5 and 2. 6 
from 2 is 2*4 inches; draw a line from 2 through a point 
y inch in back of 6. Shape a line from 2 to 5 about }4 inch 
above the line first drawn. 

Measure the width of the turn-over part of the collar 
and finish as represented. 

Fig. IV 

Storm Coll ar 

1 is the point from which to square both ways. 

2 from 1 is 2)4 inches. 

3 from 2 is 7 inches; connect 2 and 3. 

4 from 2 is 2y 2 inches at a point Lt inch above the line 
3-2. Shape the neck line from 2 to 4 and from 4 to 3 as 
per diagram. 

Square out a line from a point y inch below 4 and from 
point 3 draw a dart from 4 upward about y$ inch on each 
side of the squared line and shape the center back from 2 
to a point about 1 inch in back of the line 1-2. The width 
and shape of this collar is drafted according to style re¬ 
quired. 


Fig. V 

Stand-Up or Flare Collar for the High Neck 

1 is the point from which to square both ways. 

2 from 1 is 7 inches; shape the neck line from 1 to 2 
about y inch above the straight line. 

3 from 1 is 5 inches. 

4 from 3 is 1 inch ; draw the center back line from 1 to 


Shape and finish as per diagram. 





LADIES’ TAILOR-MADE GARMENTS 


81 


DIAGRAMS OF COLLARS 




v 





























82 


THE NEW “STANDARD” WORK ON DESIGNING 


COLLARS—continued 


Fig. VI Fig. VII 


Cape Collar 

The collar drafted on this foundation is for a high stand 
in the back and a low sand in the front. 

1 is the point from which to square both ways. 

2 from 1 is \ l / 2 inches. 

3 from 1 is 1 inch. 

4 from 2 is 7 l / 2 inches, shape the neckline from 3 to 4 
as illustrated. 

The double line formation above the neckline indicates the 
crease line, which is about 3 inches above 3. 

Measure the width of the collar from 3 upward and shape 
the collar according to style desired. 


Cape Collar 

This diagram illustrates a cape collar with a high stand 
front and back, 

1 is the point from which to equare both ways. 

2 from 1 is 1 l / 2 inches. 

3 from 1 is 1 inch. 

4 from 2 is 7 l / 2 inches; connect 2 and 4. 

5 from 4 is 3% inches; shape the neck line from 3 
through 5 as illustrated and measure the length of the 
collar desired. 

The double line formation about 3y 2 inches above the 
neck line, indicates the crease line of the collar. Shape and 
finish as required. 


Fig. VIII 

Chin Collar 

Draw a line as indicated by line 1-3. 

1 is the point from which to equare both ways. 

2 from 1 is 134 inch. 

3 from 2 is 1 inch. 

4 from 2 is 3 l / 2 inches, and 

5 from 2 is the same; connect 5 to 2 and 4 to 2. Shape 
the neckline from 4 through 2 and to 5 as represented. 
Square out the center back line from the line 4-3, measure 
the width and shape according to style required. 


Fig. IX 

Shawl Collar 

This collar is drafted for a Coat or Cape where a 
separate and an exceptionally wide collar is desirable. 

1 is the point from which to equare both ways. 

2 from 1 is 134 inches. 

3 from 1 is 1 inch. 

4 from 2 is 7/ 2 inches; connect 4 and 2. 

5 from 4 is 2% inches; draw a line from a point 3 inches 
above 1 through 5 downward, and shape the neck line from 
3 to 5 as per diagram. 

Measure the length of the collar along the neck line and 
the width of the same from 3 upward. 

Shape and finish as per style desired. 







LADIES’ TAILOR-MADE GARMENTS. 


83 


DIAGRAM OF COLLARS 




Fig. VIII 


Fig. IX 




























84 


THE NEW “STANDARD” WORK ON DESIGNING 


SKIRT FOUNDATION 


The construction of a Skirt Foundation as simple as 
it is, is of just as great an importance as the construc¬ 
tion of a foundation for a Jacket or Coat, if a proper fit 
or hang of the skirt is expected, but unlike jackets or 
coats where there are three different foundations there 
is only one foundation from which any kind of a skirt is 
either drafted or manipulated with the exception of some 
types of draped skirts where a foundation is not neces¬ 
sary as they are draped entirely on the figure. 

The measures are as follows: 

26^2 waist 38 front length 

40 hips 39back length 

To Draft 

1 is a point from which a line is drawn downward, or 
the straight edge of the paper may be used instead of 
the line. 

2 from 1 is the back length of the skirt. 

3 from 2 is the front length of the skirt. 

4 from 1 is 7 inches 

5 from 4 is 5 inches. 

6 from 2 is 1^2 inches; draw the center front line from 
6 to 3. 

The paper must now be laid straight and even with the 
line 1-2 to the edge of the table then measure from 1 
straight upward along the edge one and one-half the 
waist measure, that is, 26J4 and 13}4 added together, pin 
the tape measure to that point and sweep from 1 and 4 
forward. 

Sweep 1 serves as a guide for the waist line and sweep 
4 establishes the hip line. 

7 from 4 is J4 hip; square upward from 7 and 5. 

8 is a point on the line just squared from 7; draw the 
waist line from 3 to 8 and continue the center back line 
7-8 downward. 

9 from 8 is the back length; measure the back length 
on about 2 or 3 places from sweep line 1 downward and 
shape the bottom from 9 through the points just gained 
to 6 as represented. 

10 from 2 is inch ; reshape the waist line from 10 
forward as per diagram. 
















LADIES' TAILOR-MADE GARMENTS. 


85 


8 























86 


THE NEW “STANDARD” WORK ON DESIGNING 


TWO-PIECE SKIRT 

This diagram represents a plain two-piece skirt, drafted 
to fit tight at the hips and waist line. The foundation up 
to and inc'uding point 10 is the same as described on the 
preceding page. 

To Draft 

11 from 4 is ^4 of the line 4-7 less 1 inch. 

12 from 6 is ^4 of the line 6-9 less 2 inches; draw a line 
from 12 through 11 upward. 

13 from 8 at a point % inch above the line 8-3 is l /\ 
waist plus inch; shape the waist line from 13 to 8 and 
the side seam from 13 to a point 1*4 inch below 11. 

14 from 10 on a sweep cast at 13 pivoted at 11 is *4 
waist less y inch; shape the waist line from 14 to 10 
and the side seam from 14 to a point 1J4 below 11, as 
per diagram. 






LADIES’ TAILOR-MADE GARMENTS. 




























88 


THE NEW “STANDARD'’ WORK ON DESIGNING 


TWO-PIECE HIGH-WAISTED SKIRT 


The accompanying diagram illustrates a manipulation 
from a plain two-piece skirt to a two-piece high-waisted 
skirt. 

This simple manipulation does not require a lengthy 
description, as the diagram clearly illustrates how the 
amount added to the heighth of the skirt is allowed, a 
brief explanation though will be useful to those not ac¬ 
quainted with it. 

Continue the center front and center back line to 2 
inches above the waist line or the amount desired, re¬ 
shape the dart at the side seam to above the waist line 
adding ^ or inch to the front and back parts at the 
waist line. 

Shape the top of the front and back part as per heavy 
line formation. 







LADIES’ TAILOR-MADE GARMENTS. 


89 
























90 


THE NEW “STANDARD” WORK ON DESIGNING 


FIVE GORED SKIRT 


The skirt illustrated on the opposite page is cut in five 
pieces cr gores, namely a front panel and four gores, two 
seams being on each side and one seam at the center back. 
The foundation points from 1 to 10 are obtained as de¬ 
scribed on a preceding page. 

To Draft 

11 from 4 is 1 /5th of y 2 hip measure less y 2 inch. 

12 from 6 is 1 inch more than 11 from 4; draw a line 
from 12 through 11 upward. 

13 is a point halfway between 7 and 11. 

14 from 12 is 1 inch less than y 2 of the line 9-12; draw 
a line from 14 through 13 upward. 

The dart at the center back is J4, inch, and the dart at 
the front panel is *4 inch in front of the panel line, and 
x / 2 inch in back of the panel line. The waist line is now 
measured, l / 2 waist measure being applied and the surplus 
taken out in a dart at the side seam. y 2 inch more being 
taken towards the front than towards the back of the 
side seam line. The surplus in this case is 2 y 2 inches. 
1 y 2 inches is taken out towards the front and 1 inch 
towards the back of the line. 

Shape the darts at the front, side and back seams from 
the waist to the hip line, reshape the waist line between 
the darts and finish as per diagram. 












LADIES’ TAILOR-MADE GARMENTS. 


91 


8 

































92 


THE NEW “STANDARD WORK ON DESIGNING 


SEVEN-GORED SKIRT 

The skirt illustrated and described here, is 
divided into seven parts, one front panel and six gores. 
The foundation points up to and including point 10 are 
the same as illustrated and described on another page. 

11 from the center front line is 1/7 of 34 hip measure 
less 54 inch. 

12 from 6 is 1 inch more than 11 from the center front 
line; draw a line from 12 through 11 upward. 

13 and 14 are points obtained by dividing the remainder 
of the skirt between 11-7 into three equal parts. 

15 and 16 are points obtained by dividing the remainder 
of the bottom of the skirt 12-9 into three equal parts; 
draw lines from 15 through 13 and from 16 through 14 
upward. 

The surplus at the waistline is taken out in darts in 
the following manner: 

34 inch is taken from the front panel. 

24 inch is taken from the next gore in back of the 
panel line. 

24 inch is taken out at the center back. 

Apply 34 waist measure at the waist line and the sur¬ 
plus obtained as a result therefrom is taken out equally 
divided in two darts at the side seams. 

Shape the darts from the waist line to the hip line, 
and the waist line between the darts. Finish as per 
diagram. 














. m 

LADIES’ TAILOR-MADE GARMENTS. 93 








































1)4 


THE NEW “STANDARD” WORK ON DESIGNING 


NINE-GORED SKIRT 

The skirt illustrated on the next page consists of nine 
parts—front panel and eight gores. 

These skirts from about seven or nine gores up are 
not used extensively but are given room in this book for 
the benefit of those that do or will use them sooner or 
later for one reason and secondly for the purpose of illus¬ 
trating the dividing of the surplus at the waist line into 
different size darts. It will also be noted in this diagram 
as well as in those following that the smaller darts are 
always towards the front and the larges darts towards 
the back part of the skirt, that is for normal figures, 
otherwise the darts are taken out when and where needed 
tc conform with the figure and measurement. 

11 from the center front line is 1/9 of 24 hip less Ts 
inch. 

12 from 6 is 24 inch mere than 11 from the center front 
line; draw a line from 12 through 11 upward. 13, 14 and 
15 are points gained by dividing the line 11-7 into 4 equal 
parts. 16, 17 and 18 are points gained by dividing the line 
12-9 into 4 equal parts; draw lines upward from 16 
through 13, from 17 through 14 and from 18 through 15. 
24 inch is taken out for a dart on each side of the front 
panel, 24 inch at the center back, apply 24 waist measure 
at the waist line, and divide the surplus gained into three 
unequal parts: that is, the dart at 14 being the largest 
at 15, 24 inch smaller, and at 13, 24 inch smaller than the 
one at 15. 

Shape and finish as represented. 



LADIES’ TAILOR-MADE GARMENTS 


8 
























96 


THE NEW “STANDARD” WORK ON DESIGNING 


ELEVEN-GORED SKIRT 


An eleven-gored skirt is herewith illustrated and de¬ 
scribed, consisting of 10 gores and front panel. A plain 
skirt foundation up to and including point 10 is used in 
the construction of this skirt. 

11 from the center front line is 1/11 part of Yz hip 
less 5/16 i nc h. 

12 from 6 is ^ inch more than 11 from the center 
front line; draw a line from 12 through 11 upward. 13, 

14, 15 and 16 are points gained by dividing the line 
11-7 into five equal parts. 17, 18, 19 and 20 are points 
gained by dividing the line 12-9 into five equal parts; 
draw lines from 17 through 13, from 18 through 14, from 
19 through 15 and from 20 through 16 upward. 

A dart amounting to inch is taken at the center 
back and a dart of inch is taken at the front panel as 
illustrated. 

Divide the remaining surplus at the waist line in such 
a way that the two center darts at 14 and 15 should be 
the largest, at 16 about 3/16 smaller and at 13 the 
smallest. 

Shape the darts and waist line between the same as 
per diagram. 





LADIES’ TAILOR-MADE GARMENTS. 































98 


THE NEW “STANDARD” WORK ON DESIGNING 


THIRTEEN-GORED SKIRT 


This skirt is divided into twelve equal gores and one 
front panel. The same foundation is used as in the other 
gored skirts up to and including point 10. 

11 from the center front line is 1/13 of y 2 inch hip 
measure less l Y inch. 

12 from 6 is Y inch more than 11 from the center 
front line; draw a line from 12 through 11 upward. 

Points 13, 14, 15, 16 and 17 are obtained by dividing 
the line 11-7 into six equal parts. 

Points 18, 19, 20, 21 and 22 are obtained by dividing 
the bottom line 12-9 into six equal parts; draw lines from 
18 through 13, 19 through 14, 20 through 15, 21 through 
16 and 22 through 17, upward. % inch is taken out for 
a dart on each side of the panel line, # and a dart of 
inch is taken at the center back. The surplus obtained 
by applying y 2 waist at the waist line is divided into 
five unequal parts, at 15 is the largest dart and decrease 
in size by % inch in the same order as the numbers put 
down run, 16 14, 17 and 13 the smallest. Finish the darts 
and waist line as represented. 




LADIES’ TAILOR-MADE GARMENTS. 































100 


THE NEW 


“STANDARD” WORK ON DESIGNING 


FIFTEEN-GORED SKIRT 

A fifteen-gored skirt is illustrated in this diagram, 
fourteen gores and front panel. This skirt, as well as a 
thirteen-gored skirt, or from 15 gores upward, is useful 
also for practice in dividing the foundation for a side- 
pleated or box-pleated skirt. 

11 from the center front line is 1/15 of hip measure 
less inch. 

12 from 6 is Ys inch more than 11 from the center front 
line; draw a line from 12 through 11 upward. 13, 14, 15, 
16, 17 and 18 are points obtained by dividing the hip line 
11-7 into seven equal parts. 19, 20, 21, 22, 23 and 24 are 
points obtained by dividing the bottom line 12-9 into 
seven equal parts, draw lines from 19 through 13, 20 
through 14, 21 through 15, 22 through 16, 23 through 17 
and 24 through 18 upward. Shape a dart 1/16 inch on 
each side o fthe panel line, and inch at the center back. 
The remainder of the surplus at the waist line is divided 
in such a way that the two darts at 15 and 16 are the 
largest and equal and the others decrease by a little less 
than Vs inch in the same order as the numbers given 
below 17, 14, 18 and 13 shape the darts and the waist 
between the same as per diagram. 










LADIES’ TAILOR-MADE GARMENTS. 















































102 


THE NEW “STANDARD” WORK ON DESIGNING 


PLEATED SKIRT FOUNDATION 

A pleated skirt foundation is a manipulation from a 
plain skirt foundation, that is, a plain foundation is 
drafted first and the pleated skirt foundation is manipu¬ 
lated from it afterward as described below. 

To Draft 

1 is a point on the plain skirt foundation at the center 
back and waist line. 

2 from 1 is 1*4 inch; draw a line from the front waist 
line through 2 backward, this is the new waist line. 

3 is a point on the plain skirt foundation at the center 
back and hip line. 

4 from 3 is 1^2 inch; draw the new hip line from 4 
forward to join the old hip line towards the front. 

5 is a point half way between 3 and 4. 

6 is a point at the center back and bottom line of the 
plain skirt foundation. 

7 from 6 is % of l /z hip measure plus 1 inch ; draw a 
line from below and through 7, through 5 upward. This 
is the new center back line. 

8 from 7 is inch; draw the new bottom line from 
8 forward. 

A fifteen gored skirt is then drafted on the new founda¬ 
tion followingfHhe same rule as illustrated and described 
on a preceding page. If desired either a larger or smaller 
amount of gores may be drafted depending upon the 
amount of pleats called for. 

The skirt is then cut out, each gore separate or in 
sections of 2 or 3 gores and pleats added on to it as 
illustrated on the pages following. 










LADIES’ TAILOR-MADE GARMENTS. 


103 








































104 


THE NEW “STANDARD WORK ON DESIGNING 


SIDE PLEATED SKIRT 

From the accompanying diagram it can be clearly seen 
how this simple manipulation is accomplished. In this 
illustration the pleats are allowed up to the hip line only 
although they may be allowed to the waist line if so 
desired. 

1 and 2 are points at the hip line, and 

3 and 4 are points at the bottom of the skirt. 

The front panel is copied first and the hip line marked 
giviirg point 1 ; square forward from 1. 

2 from 1 is 2 inches, and 

4 from 3 is 3 inches, this is the amount allowed for the 
pleats, either more or less may be allowed if desired. 

The next gore is then copied, laying it with the hip line 
at 2 and with the bottom at 4. A pleat is added and the 
following gore copied, and so on until pleats are allowed 
between each and every gore including the center back. 
A suggestion as to where to seam the skirt is given and 
illustrated by the broken line formation. 


/ 





LADIES’ TAILOR-MADE GARMENTS. 


105 


I 










































106 


THE NEW “STANDARD” WORK ON DESIGNING 


BOX PLEATED SKIRT 

The manipulation of a box pleated skirt is of the same 
character as of the ide pleated skirt illustrated on the 
preceding page. The pleats are allowed up to the hip 
line only but may be allowed to the waist line if desired. 

1 and 5 are points at the hip line, and 

3 and 6 are points at the bottom of the skirt. 

Copy the front panel and square forward from 1. 

2 from 1 is 2 inches, and 

4 from 3 is 3 inches; connect 2 and 4. 

5 from 2 is 2 inches, and 

6 from 4 is 3 inches; connect 5 and 6 and square the 
line 5-2 from the line 5-6 and 2. 

The next gore is then laid with the hip line at 5 and 
with the bottom at 6, copy it and go through the same 
manipulation in allowing the pleat—and so forth through 
the whole skirt, each gore forming a box pleat. The 
broken line formations indicating the places where the 
skirt may be seamed. 











LADIES’ TAILOR-MADE GARMENTS 


107 
















108 


THE NEW “STANDARD’’ WORK ON DESIGNING 


ONE-PIECE SKIRT 


A one-piece skirt as illustrated in the accompanied dia¬ 
gram is manipulated from a plain skirt foundation. 

The feature of this skirt is a shirred waist line and a 
tight bottom. Ordinarily a plain skirt foundation does 
not give this effect, therefore, it can only be gained by 
manipulation as described. 

After the skirt foundation has been cut out, it is split 
from the waistline down to about 5 or 6 inches below the 
hipline on about 3 or 4 different places, as illustrated, 
spread at the top and folded up at the bottom, until the 
desired effect is obtained. It is evident, therefore, that 
the more the bottom is folded over, the more fulness is 
gained at the waistline, or vice versa. 











109 


LADIES’ TAILOR-MADE GARMENTS. 




































110 


THE NEW “STANDARD” WORK ON DESIGNING 


TWO-PIECE CIRCULAR SKIRT 


This skirt is cut, as the name indicates, in two pieces. 
A tight, waist and hip line and a very wide bottom are 
the special features. A plain skirt foundation is drafted 
first and a line is drawn from the bottom up to the w^aist 
line as for a two-piece skirt. The back part of the skirt 
is divided into 3 parts and the resulting two lines drawn 
up to about 1 inch above the hip line. A corresponding 
line is drawn on the front part about the same distance 
from the side seam line as the first line of the back part. 
The skirt is then cut out in one piece as the accompany¬ 
ing diagram indicates and slashed along the four lines 
drawn to 1 inch above the hip line. 

The manipulation of the circular skirt proper is illus¬ 
trated and described in the pages following. 






Ill 


LADIES’ TAILOR-MADE GARMENTS. 


















112 


THE NEW “STANDARD’’ WORK ON DESIGNING 


TWO-PIECE CIRCULAR SKIRT 


continued 


The pattern is now spread at the bottom and folded 
from 1 inch above the hip line up to the waist line until 
the desired width at the bottom is obtained. A certain 
rule is to be observed though in spreading the bottom as 
the accompanying diagram clearly illustrates and that is 
in distributing the width to be gained at the bottom in 
the proper way. 

The least amount is always added to the front a little 
more at the side seam and the most at the back part; in 
this diagram for instance, is allowed, 2 inches at the front, 
3 inches at the side seam and 4 inches in each of the cuts 
at the back parts. Either more or less may be added as 
desired as long as this rule is adhered too. Measure the 
waist line now as in the plain two-piece skirt, 34 waist 
less }i inch for the front part, and 34 waist plus 34 inch 
for the back part. The side seam may be drawn from the 
dart down through the center between the third and 
fourth line. Finish, as represented and copy on an¬ 
other paper. 







113 


LADIES’ TAILOR-MADE GARMENTS. 



























114 


THE NEW “STANDARD” WORK ON DESIGNING 


GORED FLARE SKIRT 

Just to illustrate the system used in drafting this skirt 
a eleven-gore skirt has been selected to carry out this 
idea. Ordinarily any amount of gores may be used in 
this style skirt. As the diagram illustrates a certain 
amount of fullness or flare is allowed to each gore which 
must be added in such a way that to the back of each gore 
is allowed about two and one-half times more than the 
amount added to the front part of the same gore. To 
each consecutive gore starting from the front backward 
is allowed a certain amount more as it is not proper nor 
desirable to add the same amount of fulnes to the front 
and back parts of the skirt. 

Point 1, 2, 3, 4, 5, 6 and 7 indicate the original lines 
of the eleven-gored skirt. 

8 from 2 is % inch. 

9 from 2 is J4 inch. 

10 from 3 is lj^inch. 

11 from 3 is inch. 

12 from 4 is 1% inches. 

13 from 4 is 1 inch. 

14 from 5 is 2 y 2 inches. 

15 from 5 is 1% inch. 

16 from 6 is 3% inches. 

17 from 6 is 1J4 inches. 

18 from 7 is 3 y& inches; draw lines up from numbers 
8, 9, 10, 11, 12, 13, 14, 15, 16, 17 and 18 to a point about 
4 inches below the hip line on each dividing line. The 
amount added for flare as described above is given simply 
to illustrate the rule to be followed in enlarging each 
separate gore, either more or less may be added, depend¬ 
ing upon the width of skirt desired. To cut this skirt 
every second gore must be traced as they overlap one an¬ 
other now. 








115 


LADIES’ TAILOR-MADE GARMENTS. 
































116 


THE NEW “STANDARD ' 5 WORK ON DESIGNING 


DIVIDED RIDING SKIRT 

This is a skirt used exclusively for equestration and 
sporting- purposes. It is cut on the lines of a five gored 
skirt and resembles one when the skirt is worn for walk¬ 
ing. A short explanation may be in place here in cutting 
out the skirt from the draft. The front panel between 
the points 10-14 and 6-12 is traced on another paper first 
and cut out. The front part of the skirt between the 
points 10, 23, 25, 18, 17 and 21 is cut out from the draft 
including the front dart, and the back part is cut from 
the draft between the points 20, 17, 18, 28, 27 and 16. 

The points 1 to 10 are the construction points of the 
plain skirt foundation. 

To Draft 

11 from 4 is 3 y 2 inches. 

12 from 6 is \y 2 inches; draw a line from 12 through 
11 upward. 

13 is a point on the line 12-11. 

14 from 13 is % inch ; shape the dart line of the panel 
from 14 to 11. 

15 from 13 is y 2 inch ; shape the dart line from 15 to 11. 

16 from 8 is ^ inch ; shape the dart of the back part 
from 16 to 7. 

17 from 11 is y 2 of the line 7-11. 

18 from 12 is 1 inch less than y 2 of the line 9-12; draw 
a line from 18 through 17 upward. 

19 is a point on the line 17-18. 

20 from 19 is 1 inch, and 

21 from 19 is \ l / 2 inch ; shape the side dart from 20 and 
21 to 17 as illustrated, and reshape the waist line of each 
gore between the dart. 

22 from 1 is 13 inches square forward. 

23 from 22 is y 2 inch less than ^ 4 th of y 2 hip measure, 
shape the crotch from 23 to about 1 inch above 4 as 
illustrated. 

24 from 6 on a line squared from 2, is 1 inch more than 
23 from 22; connect 24 and 23. 

25 from 24 is inch ; reshape the bottom from 25 to 6. 

26 from 8 is 1-kj inches more than 22 from 1 ; square 
backward. 

27 from 26 is y 2 inch more than y of y hip ; shape the 
back part from 27 to 7. 

28 from 9 is 1 inch more than 27 from 26 and is the 
same from 27 as 25 from 23; connect 27 and 28 and 
reshape the bottom from 28 to a point 5 inches in front 
of 9, finish as represented. 











LADIES' TAILOR-MADE GARMENTS. 


117 






























118 


THE NEW “STANDARD” WORK ON DESIGNING 


LADIES APRON RIDING SKIRT 

Part I 


The description following, which is for the accompany¬ 
ing diagram, is for a ladies apron riding skirt. 

The diagram was produced in accordance with the 
following measures: 

26 l /> waist 37 front length 

40 hip 38 back length 

To Draft. 

A is the point from which to square both ways from a 
line made previously; this is the center front line. 

2 from A is 1 inch. 

3 from A is 2 inches. 

4 from A is 1534 inches. 

5 from A is 33 inches. 

6 from 5 is ^4 inch ; square out from 2, 4. 5 and 6 as per 
diagram. 

7 from A is 39 inches. 

8 from A is 6^4 inches; shape the waist line from 8 to 3. 

9 from 8 is 134 inch. 

10 from 5 is 22 inches; connect 9 and 10, draw a dart 
from 8 to a point about 7 inches below 9 and shape the 
bottom from 10 to 7 as illustrated. 

11 from 2 is 3 inches; shape the waist line from 11 to 3. 


12 from 4 is 14^4 inches; square up and connect 12 and 

11 . 

13 from 12 is y inch; shape a line from 13 through 12 
to 11. curving in above 12 and below 11 about ^4 inch re¬ 
spectively. 

14 from 4 is 19 inches. 

15 from 14 is 1^4 inch. 

16 from 12 is 3*4 inches; square out. 

17 from 16 is \y 2 inch. 

18 is a point on the line squared up from 12. 

19 from 18 is 3^4 inches; square out. 

20 from 19 is 2^4 inches; draw a line from 13 through 
17 within 34 inch of the line 12-18 at a point about 3 
inches below 18 and then to 20 as illustrated. 

21 from 19 is 2 y 2 inches; shape the waist line from 21 
to 20. 

22 from 18 is 10J4 inches; connect 21 to 22. and 22 to 
14. Shape a line from 22 to 15, crossing the line 22-14 
about 2^4 inches above 14. 

23 from 6 is 3034 inches; connect 23 to 15 and shape 
the bottom from 23 to 7 as represented. Finish as per 
diagram. 








LADIES’ TAILOR-MADE GARMENTS. 


119 



Part I 















































120 


THE NEW “STANDARD” WORK ON DESIGNING 


LADIES APRON RIDING SKIRT 

Part II 


24 is a point on the center back line made previously. 

25 from 24 is ^ inch. 

26 from 24 is 1 inch. 

27 from 24 is 12 inches. 

28 from 24 is 36 l / 2 inches. 

29 from 24 is 39 inches: square out from 24, 25, 27. 28 
and 29. 

30 from 24 is 7*4 inches; shape the waist line from 30 
to 26. 

31 from 30 is 1 Y\ inch. 

32 from 27 is 10 inches; connect 32 to 31 and shape the 
dart from 30 to a point 6 inches below 31. 

33 from 26 is 2*4 inches. 

34 from 33 is 1^4 inch. 

35 from a point 3*4 inches from the line 26-27 and 6 
inches below 33; shape the dart from 35 to 33 and 34 
respectively. 

36 from 27 is 3% inches. 

37 from 29 is 5 l / 2 inches; connect 36 and 37 and shape 
a line from a point about 5 l / 2 inches below 36 to 32 as il¬ 
lustrated. 

38 from 25 is 7y$ inches; shape the waist line from 38 
to 26. 

39 from 38 is £4 inch. 

40 from 26 is 2*4 inches. 

41 from 40 is 1J4 inch. 

42 is a point 3j4 inches from the line 26-27 and 6 inches 
below 40; shape the dart from 42 to 40 and 41 respec¬ 
tively. 

43 from 28 is 14}4 inches; shape the bottom from 43 
to 29 and connect 43 and 39. 

Shape a dart from 38 to a point 6 inches below 39. 

The opening of the skirt is made from 38 to about 10 or 
11 inches down the seam. A strap about 1 y 2 inch wide 
should be attached on Part I at point 17, long enough to 
go around the leg a little above the knee to meet and 
button to a little strap \/ 2 inch long, attached to Part I 
from point 15 up. This little strap is buttoned to a but¬ 
ton on Part II a little above point 36; the exact location 
of this button is to be determined and fitted when the 
lady is off the horse, while trying on the skirt. 









LADIES’ TAILOR-MADE GARMENTS. 


121 


PART II 


























122 


THE NEW “STANDARD’’ WORK ON DESIGNING 


LADIES RIDING BREECHES 

Front Fart 


The drafting of a pattern for Ladies Riding Breeches 
is understood by comparatively few Ladies Tailors only. 
The diagrams and descriptions of the same on the follow¬ 
ing pages, therefore, should be very helpful to those that 
lacked that knowledge before. 

The measures are as follows: 

Width measures Length measure 


2634 waist 
40 hip 
15 knee 

13^2 2 inches below knee 
151/2 calf 
11 1/2 bottom 


\ 2/ 2 hip rise 
24 to knee 

26 2 inch below knee 
3034 to calf 
35 full length 


To Draft Front Part. 

A is a point from which to draw a line downward . 

2 from A is the hip rise. 

3 from A is the knee. 

4 from A is 2 inches below knee. 

5 from A is the calf. 

6 from 5 is 34 inch. 

7 from A is the full length. 

8 from 7 is 34 inch, square both ways from A, 2, 3. 4, 5. 


6, 7 and 8. 

9 from 2 is /& hip, square upward. 

10 from 2 in / hip. 

11 from 10 is 34 of line 10-2, and 

12 from 9 is the same. 

13 is a point on the line squared up from 9. 


14 from 13 is 34 waist plus 2 inches. 

15 from A is 34 inch. 

16 from A is 1 inch. 

17 from A is 6 inches, shape a dart from points 15 and 
16 to 17, and the waist line from 15 to point 34 inch above 
14 and from 16 to a point 34 inch below 13. 

Shape the front seam from a point 34 inch in back of 13 
down to 12 as represented. 

18 from 3 and 

19 from 3 is 34 knee less 1 inch gained by applying the 
amount equally divided on each side cf center mark 3. 

20 from 4 and, 

21 from 4 is 34 the measure below knee, less 1 34 inch, 
gained and applied the same way as the knee measure 
square down from 20 and 21. 

22 from the line squared down from 20, and 

23 from the line squared down from 21 is 34 respec¬ 
tively. 

24 from the line squared down from 20, and 

25 from the line squared down from 21 is 34 respec¬ 
tively. 

Shape the side seam from 14 through 11, 19, 21, 23 to 
25 and the inside seam from 12 through 18, 20, 22 to 24 as 
represented. Shape the bottom from 24 to 25 and allow 
I 34 inch for a vent from 21 downward as per diagram. 
The construction of the back part is illustrated and de¬ 
scribed on the page following. 












123 


LADIES’ TAILOR-MADE GARMENTS. 


FRONT PART 
















































124 


THE NEW “STANDARD” WORK ON DESIGNING 


LADIES RIDING BREECHES 

Back Part 

26 from 11 is the same as 11 from 10. 

27 from 12 is the same as 12 from 9. 

Draw a line from 12 through 16 upward. 

Cast a sweep at 14, pivoting at a point half way be¬ 
tween 11 and 26. 

28 is a point gained by squaring from the center back 
line, touching the sweep line 14-29 at a point where it will 
measure *4 waist plus 2 inches. 

29 is the point just gained by squaring from 28. 

30 is a point half way between 28 and 29; connect 30 
and 2. 

31 from 30 is 1 inch, and 

32 from 30 is the same. 

33 from 30 is 6 inches, shape a dart from 31 and 32 to 
33 and the waist from 29 to 31 and from a point Y\ inch 
below 32 to a point ^4 inch below 28. 

34 from 18 is inch, and 

35 from 20 is the same. 

36 from the front part, and 

37 from 22 is inch. 

38 from 24 is y 2 inch; shape the back seam from the 
waist line below 28 to 27 and the inside seam from 27 
through 34, 35 to 36 and from 37 to 38 as represented. 

39 from 34 is the knee width, less the width of the front 
part 18-19. 

40 from 35 is the measure below the knee less the width 
of the front part 20-21. 

41 from 36 is the calf less the width of the front part 
22-23. 

42 from 38, inch below the 24-25 is the width of the 
bottom less the width of the front part 24-25. 

43 from 42 is the same as 23 from 25 and the same from 
5 as 41 from the same point. 

Shape the side seam from 29 through 26, 39, 40 to 41 
and from 43 to 42. 

Shape the bottom from 38 to 42 and draw a line from 
37 through 5 to 43, thus separating the cuff from the rest 
of the back part; the cut part of the front is outlined by 
points 22, 23, 24 and 25. The allowance for the vent at 
the side seam from 29 to a point about 9 inches below 
29 is l l / 2 inch, the same amount is allowed from the knee 
down. Finish as represented. 











125 


LADIES’ TAILOR-MADE GARMENTS. 

/ 


BACK PART 





























































126 


THE NEW “STANDARD’' WORK ON DESIGNING 


MANIPULATION OF THE SEMI-FITTED PATTERN 


The manipulation of a block pattern is a comparatively 
easy matter if properly understood. In this book necessarily 
only a short treatise on this subject can be given, but it will 
be easily seen from the accompanying diagrams, how from 
one style pattern another style can be manipulated. The 
main point to be observed is that the general shape of the 
pattern and the principle points of the same should never 
under any circumstances be moved or changed. This prin¬ 
ciple must be adhered to in the manipulation of all and every 
style pattern. Great care must be exercised when shifting 
seams or splitting the different parts of the pattern while 
manipulating it so as not to lose the shape of the same. 
This is the point where many pattern makers even get 
mixed up, and the result is a bad fitting pattern. 

The accompanying diagram illustrates how a four-piece, 
semi-fitted, block pattern may be manipulated into a one- 
piece front and a one-piece back. The thin lines represent 
the original shape of the pattern and the broken lines repre¬ 
sent how the pattern has been cut and spread to obtain the 
desired effect. The heavy lines show the finished pattern. 




127 


LADIES’ TAILOR-MADE GARMENTS. 







































128 


THE NEW “STANDARD'’ WORK ON DESIGNING 


MANIPULATION OF THE SEMI-FITTED PATTERN 


In this diagram a simple manipulation is illustrated. The 
two front parts of the pattern are laid together from the 
bust notch up and the seam shifted to run into the armhole 
as represented. The two back parts of the pattern are laid 
together from the waistline up and the seam shifted to 
run from the waistline gradually into the armhole at a 
point about 3^2 inches below the shoulder point. The 
finished pattern is illustrated by the heavy line formation. 









LADIES’ TAILOR-MADE GARMENTS. 


129 
















130 


THE NEW “STANDARD” WORK ON DESIGNING 



















LADIES’ TAILOR-MADE GARMENTS. 


131 




DESIGNERS 

OF LADIES’ COATS, SUITS, WAISTS, SKIRTS, DRESSES 

ARE IN GREAT DEMAND 

c A Dignified Profession for Men or Women. 
Easy to Learn, Pays Big Money. 

TAKE A COURSE OF INSTRUCTION IN THE 

Mitchell Designing School 

OF PATTERN-MAKING, GRADING AND FITTING 

s J 'i' ' i' 

Ladies’ Tailor-made Garments 

Established over fifty years. 

NEW METHODS NEW SYSTEMS NEW IDEAS BEST RESULTS 

In the modern construction of all kinds of women’s apparel 

INDIVIDUAL INSTRUCTION BY PRACTICAL EXPERTS 

Day and Evening Classes Terms Reasonable Convenient Payments 

A COURSE OF INSTRUCTION IN THE MITCHELL SCHOOL 
MEANS AN IMMEDIATE POSITION AND BIGGER PAY. 

The System is Easily Grasped by Average Men and Women 

Write, phone or cal] for free booklet, 
demonstration and full information. 


Mitchell Designing School 

912-920 BROADWAY (Cor. 21st Street) NEW YORK, N. Y. 

Telephone Stuyvesant 8383 


BOSTON BRANCH: 

453 Washington Street, Dexter Building 
























132 


THE NEW “STANDARD” WORK ON DESIGNING 


MANIPULATION OF THE SEMI-FITTED 

PATTERN 


The diagrams on this page illustrate a semi-fitted pattern 
cut through at the waistline. The different parts are then 
taken and laid together to form a dart either from the bust 
line up or from the bust line down as illustrated by the 
heavy line formation. The skirt parts are then joined to¬ 
gether to form a separate front and back part or they may 
be cut all in one piece as in some cases is done. 

The broken lines on the skirt parts indicate the places 
where the pattern may be cut through and spread out at the 
bottom to give additional fulness if desired. 




133 


LADIES’ TAILOR-MADE GARMENTS. 






































134 


THE NEW “STANDARD” WORK ON DESIGNING 




















LADIES’ TAILOR-MADE GARMENTS. 


135 



SOME FACTS 


About the 


MITCHELL SCHOOL 



of Designing Ladies’ 
Tailor-made Garments 


II Garment designing as we teach it does not involve the use of charts, or complicated de¬ 
vices of any kind. The common tape measure and ordinary divisional square are all that 


is required 


H The system itself and all that pertains to it is on the same simple order, so that any¬ 
one with average intelligence will have no difficulty in mastering the course chosen. 

jj At the same time this system is so practical that there can be no question as to your 
success, while the instruction is so thorough that there is no chance of the student lack¬ 
ing a complete expert knowledge of every principle and detail involved in the designing 
of ladies’cloaks and suits, skirts, waists and dresses; and the cutting and fitting of ladies’ 
tailor-made garments and riding habits. 

A There are no Masses; each student is taught individually—personally. This individual 
attention insures progress and thorough understanding of the subject. The instruction 
carries the student systematically through all possible varieties of garments and every 
style effect, as shown on the latest fashion plates; so that, no matter what styles the fu¬ 
ture may bring, you know how to make them. 

^Designers of Cloaks, Suits, Dresses, Waist and Skirts, Ladies’ Tailors, Furriers and 
Dressmakers are taught how to take measures, how to overcome difficulties arising from 
abnormal forms, deformities, etc.; how to fit so as to secure a perfect result, etc. In short, 
our full course of instruction covers everything that designers of ladies’ outer garments 
and cutters and fitters should know. 

|j All necessary materials, and proper implements are supplied for use of students while 
learning. In addition, we furnish facilities.so that you can test your knowledge and 
progress with the system, by making models as you go on. 

A These are a few of the characteristics that go to make the Mitchell Designing School 
the largest, the best equipped, the most modern, the most responsible, and the most suc¬ 
cessful in the world. 


Mitchell Designing School 


912-920 BROADWAY Telephone, STUYVESANT 8383 NEW YORK 
Everting Classes: Mondays, Wednesdays and Fridays 


BOSTON BRANCH: 453 Washington Street, Dexter Building 


















136 


THE NEW “STANDARD" WORK ON DESIGNING 


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THE 


“American Ladies Tailor” 


FOR 


The American Ladies Tailor 


A Fashion Publication Devoted to Plain Practical, 
up-to-the-minute Tailor-made Styles: — 

Designed by the Leading Fashion Artists with Styles 

that make and hold customers 

FOR YOU 

The Seasons’ Display Panorama is always a master¬ 
piece in style, color and design. 

No other Publication gives you as reliable a service. 

No other Publication gives you as many fashions. 

No other Publication contains as many Practical Tailor- 
made Styles as the American Ladies Tailor. 


Information Cheerfully Given, Write to Us To-day 


MITCHELL PUBLICATIONS, Inc. 

920 Broadway, New York 














































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